LIBRARY. 


M. Knoedler & Co. 


14 East 57th St. 
New York 


CATALOGUE 


2 VALUABLE . 
di MODERN PAINTINGS 


IMPORTANT BRONZES, ETC. 


kd ty 
we 
*, 


COLLECTED BY THE LATE 


WILLIAM B. BEMENT. 


PHILADELPHIA 


FOR MANY YEARS A DIRECTOR OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS 
TO BE SOLD AT ABSOLUTE PUBLIC SALE 
ON MONDAY AND TUESDAY EVENINGS 


FEBRUARY 27TH AND 28TH, AT 8 O CLOCK 


AT CHICKERING HALL. 


FIFTH AVENUE AND EIGHTEENTH STREET 


ON FREE VIEW, DAY AND EVENING 


FROM FEBRUARY 22ND (WASHINGTON’S BIRTHDAY) UNTIL DAY OF SALE, INCLUSIVE 
(SUNDAY EXCEPTED) 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


THOMAS E. KIRBY THE AMERICAN ART rei 
AUCTIONEER ane 


NEW YORK © 


1899 OS 


CONDITIONS OF SALE. 


1. The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute shall 
be immediately put up again and re-sold. 


2. The Purchasers to give their names and addresses, and 
to pay down a cash deposit, or the whole of the Purchase- 
money, z2/ veguired, in default of which the Lot or Lots so 
purchased to be immediately put up again and re-sold. 


3. The Lots to be taken away at the Buyer’s Expense and 
Risk upon the conclusion of the Sale, and the remainder of the 
Purchase-money to be absolutely paid, or otherwise settled for 
to the satisfaction of the Auctioneer, on or before delivery ; 
in default of which the undersigned will not hold themselves 
responsible if the Lots be lost, stolen, damaged, or destroyed, 
but they will be left at the sole risk of the Purchaser. 


4. The sale of any Article is not to be set aside on account of 
any error in the description, or imperfection. All articles are 
exposed for Public Exhibition one or more days, and are sola 
just as they are, without recourse. 


5. To prevent inaccuracy in delivery and inconvenience in 
the settlement of the Purchases, no Lot can, on any account, 
be removed during the Sale. 


6. Upon failure to comply with the above conditions, the 
money deposited in part payment shall be forfeited; all Lots 
uncleared within one day from conclusion of Sale shall be 
re-sold by public or private Sale, without further notice, and 
the deficiency (if any) attending such re-sale shall be made 
good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to 
the right of the Auctioneer to enforce the contract made at 
this Sale, without such re-sale, if he thinks fit. 


THE AMERICAN ART ASSOCIATION, 


MANAGERS, 
THoMAS E. KIRBY, Auctioneer, 


Ami islT> REPRESENTED 


Achenbach, 50 Ernst, 44 Moran, 110 
Alvarez, 51 Escosura, 42 Moreau, 30 
Aly,9 Farrer, 106 Mouchot, 71 
André, 105 Ferrari, 86 Navonne, 129 
Bacon, 63 Frére, 8 Olivié, 142 
Bakalowicz, 34 Girard, 82 Palmaroli, 55 
Bauduin, 10, 80 Goubie, 83 Pasini, 109 
Baugniet, 116 Guiterez, 12, 89 Perrault, 68 
Bellows, 62 Hager, 112 Pierce, 20 
Benoist, 127 Hamilton, 133 Ramsay, 113 * 
Bianchini, 33 Hansen, 32 Ream, 77 
Bierstadt, 24 Harnett, 36, 139 Richards, 47, 72, 131% 
Boldini, 26 Flart, 17 Richter, 140 
Bonifazi, 132 Heade, 87 Rico, 25, 96 
Boughton, 23 Herzog, 18, 70, 84, Robie, 108 
Bouguereau, 135 138 Rossi, go 
Brillouin, 11 Hill, 48 Rousseau, 100 
Brown, J. G., 39, 118 Ittenbach, 78 Schreyer, 67 
Bunner, 45 Jacque, 120 Seivert;(T, 73 
Burnier, 59 Jones, H. B., 69 Seitz, 21 
Cabanel, 53 Juliana, 13. 75 Simonetti, 85 
Capobianchi, 4 King, 121 Simoni, 9I 
Carolus, 61 Klombeck and Will- Sinkel, 79 
Castiglione, 93 ems, 134 Stevens, 22 
Ceriez, 128 Koekkoek, 35 Ten Kate, 58 
Chavet, 5 Koller, 115 Troyon, 124 
Claude, 6 Kraus, 19, 57 Van Elten, 107 
Col, 74 Kuwassey, Pere, 136 Van Marcke, 123 
Coleman, 102 Lambert, 16 Van Moer, I19 
Comeleran, 40 Lambron, Io! Van Schendel, 37- 
Coomans, J., 52 Latan, 88 Van Wyngaerdt, 2 
Correlli, 60 Leloir, 15 Venia, 92 
Cortazzo, 94, 141 Lesrel, 137 Verboeckhoven, 49, 54 
Cot, 66 Leu, 104 Vernon, 28 
Crochepierre, 125 Linder, 14 Vibert, 27 

De Yonghe, 31 " Linford, 114 Vigneron, I14 
Desgofie, 43 Lippincott, 97 Villegas, 46, 130 
Detti, 7 Madrazo, R. de, 29 Viry, 98 
Dunning, 41, II May, 65 Webb, 3, 81 
Duval, 103 Meixner, 56 Weeks, 64 
Dvorak, 95 Merle, 76 Willems, 38 


Equsquiza, 126 Michetti, 122 Zamagois, 99 


CATALOGUE 


Piivolh NIGHT'S, SALE 


MONDAY, FEBRUARY 27TH, AT 8 O’CLOCK 


AT CHICKERING ,HALL 


AUGUST SEIGERT Dusseldorf 
Reading the News 


Although chiefly known and renowned for his large historical can- 
vases, we still find Seigert devoting himself oftentimes to such small 
cabinet pieces as we have now beforeus. This perfect type of a Bavarian 
peasant, keenly studying the news of the day, with all the solid comfort 
of pipe and beer, is full of interest. 

Signed at the upper right. Height, ro inches ; width, 8% inches, 


C. VAN WYNGAERDT Antwerp 
The Forest 


This wood interior is reminiscent of some of the best work by Diaz, 
or the tall beeches surrounding the clearing might, from their force of 


5 


bs 


character, have been painted by Dupré. The puddle of water in the 
foreground mirrors beautifully the trees, while the old woman gather- 
ing fagots adds that note of humanity which makes nature doubly 
charming. This is a picture full of tone or quality, the colors vibrating 
through the whole in well-sustained gradations. 

Signed at the right. Height, 2 inches; width, 934 inches, 


Ke, 


Cc. M. WEBB Dusseldorf 


Old Woman Knitting 


4 ae te 


Old age will often work, because it is used to it, and could not bear 
idleness. The contented smile on this woman’s face shows that her 
labor is light. Also in this example of Webb we find that grasp of 
character which signalizes the student of human nature, and that care- 
ful study of detail, without obtrusiveness, which marks the skilful 
craftsman. 

Signed at the upper left. Height, rz inches ; |width, 9 inches. 


' 
V. CAPOBIANCHI ome | 


In the Park 


Light and air are well depicted in this pleasant..little picture. The 
two ladies have paused at the massive sculptured garden seat, such as 
were placed in gardens in the time when statues dotted the lawns and 
peeked through the branches of the groves. They nod together as 
blithely as the sunlight and the flowers about them. Technically the 
work has been done in delicate touches, with but little positive color, 
except in the flowers and in the dresses of the ladies. 

Signed at the left. Height, 7% inches; width, 434 inches. 

6 


vA 
Bas AL, 
VICTOR CHAVET France 
The Musical Amateur 


On. 


The genre of this Member of the Legion of Honor is always satis- 
factory by reason of its well-bred suggestiveness and careful execution. 
The animated concern with which the amateur is playing his bass viol is 
well expressed. The details of the composition are skilfully carried 
out and show the influence of Roqueplan, who was Chavet’s teacher. 

Signed at the right. Height, 9 inches; width, 7 inches. 


MAXIME CLAUDE France 
Hunting Dogs 


Th Ua 
JEAN 


These dogs in leash are awaiting the hunter’s coming. They are 
well drawn, and stand in the shady woods ready for the game. The 
wood interior itself is excellent. The play of light, the bark of the 
moss-touched white beeches, the cool atmosphere, make this an excep- 
tionally strong hunting scene. The artist is famed for these subjects, 
and has received a number of medals for his various contributions to 
European exhibitions. 


Signed on the tree in the upper left, Dated, 1865. 
Height, 9% inches ; width, 12 inches. 


PA 
wast ‘i. pa . 
15 MS a 7 
CESARE DETTI Italy 


Ef ZA. ep it~ Gathering Flowers 
his talented Roman, whose studio at the present is in Paris, delights 


in picturing rich costumes and colorful scenes. His method and man- 
ner of doing this show the expert knowledge of a well-trained hand. 
In this example the cold blue is dexterously handled with most pleasing 
contrasts ; the patch of sky over the wall is luminous, and the shadowed 
places heighten the effect of this charming picture. 

Signed at the left. Height, 9 inches ; width, 6 inches. 


7 


QW. eee lL Ae. 
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‘THEODORE FRERE Teaaee 


Halt in the Desert 


This artist was the forerunner of many who have put the glowing 
East on their canvas. The first in discovery, he was not the least in 
translating these Oriental scenes pictorially. His many productions have 
been eagerly taken up, a large number being engraved and reproduced 
by other methods. Ruskin, who was an enthusiastic admirer of his 
talent, was the means of introducing him to the English market, where 
he became exceedingly popular. In fact, wherever his pictures have 
been shown they have commanded merited prizes. 

The picture shows us a soft and glowing crimson of sunset pervading 
the desert air. The caravan has halted on the edge of an oasis and 
various preparations are being made for the evening meal. Soon the 
muezzin will call, and on the prayer rugs the evening prayer will be 
chanted. It is a typical scene of Oriental life, skilfully presented. 


Signed at the right. Height, 9 inches ; width, 13% inches. 


%s \ e Em 
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A, A a 2 \ 9 es SA 


SALVATOR ALY Paris 


The Discharged Page 


A picture to which imagination may put its own story. Take away 
the title, and how we could weave a tale of romance about the mandolin 
« on the low settee, the nosegay on the floor, and the book of poems on 
the table. The haughty bearing of the master may hide jealousy of a 
wife’s devotion, or a daughter’s affection ; most probably the latter. 
The minute execution, doing justice to every detail, to texture and 
lighting, show a dexterous hand and sure brush. 


Signed at the left. Height, 9 inches; width, r3 inches, 


ek AN SS seo 
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ae 
f 


ROLAND BAUDUIN Brussels 
Ida 


The Zingara of the Opera Masquerade, a gypsy of romance, with 
large and dreamy eyes that tell of intense life, with well-poised neck and 
womanly charms that ravish the eye of those that love the darker types. 


Signed at the upper left, Dated, 1881, Height, 9 inches ; width, 7 inches, 


IT 


"4 
His - LOUIS GEORGES BRILLOUIN France 


ee The Musical Enthusiast ff eae 


The many medals which Brillouin received vouch for his popularity, 
founded on remarkable merit. The whole is a well-executed morceau. 
The old fellow’s complete absorption in his music is shown by his stoop- 
ing attitude in the tilted chair whereon he sits astraddle. Wig and 
night cap are awry, and his eyes, his ears, his soul are centred in the 
notes before him. His only audience is a dog, who is endeavoring to 
sing to his master’s fiddling, with results that may be imagined. 

Signed at the right. Height, 1o inches; width, 8 inches, 


I) O 
Ty ‘ia 12 
J. GUITEREZ Italy 


(Water Color) Fe hrs) 


Full of color, with a pleasant landscape setting. Body color is used, 
giving a solid impression. The composition is far from the mereticious- 
ness which often characterizes the later Italian school. 

Signed at the right. Dated, 1869. Height, 14 inches ; width, ro inches. 


Italian Peasants 


\ +A wa i SO 


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J. JULIANA . 7 x agp 


Trying the Finger-ring 
(Water Color) 


This picture is an excellent example of what may be accomplished 
with the subtle water color medium. The values of the white gown in 
its various folds are exquisitely given. There is no flatness about this 
interior, all the shades of the different planes are well given, and the 
textures cleverly suggested. 

Signgd at the right, Height, 12 inches; width, 8% inches. 


p| : 
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P.\LINDER tt Ke wheeyolor 

\ Unmasked | 
(Water Color) 


The rounded form and piquant face, the airy gauze dress, and the 
coquettish toss of the head make a dainty picture. The lady is appar- 
ently ready for some flirtatious badinage. 

The solidity of painting is caused by the use of body color in the 
white dress, which with its free and dashing handling makes this an 
exquisite example. 

Signed at the right, Height, 16 inches ; width, ro inches. 


oe 


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PAO. a 
| ane LELOIR Bee: [SlecmurpgHite 


Playing the Samisen 
(Water Color) 


A Parisian to the core, Leloir showed a most ingenious talent in color 
and in composition. His later style was not unlike that of Meissonier. 
His brilliancy was as evident in water colors as in oils. 

The lady in this charming picture is a dainty Frenchwoman, posing in 
Japanese costume with Oriental surroundings, picking at the strings of 
a Japanese samisen. 

Signed at the right. Dated, 1872. Height, 934 inches; width, 133 inches, 

10 


Jf 
J) OY. 16 MBP Berg! Sod 


LOUIS EUGENE LAMBERT Paris 
Kittens 


Lambert and Madame Ronner are the greatest cat-painters of the 
day. The Frenchman is slightly ahead of his Belgian rival in popu- 
larity. His careful painting of humorous conceits in cat-life is thor- 
oughly appreciated by those who desire a pleasing subject, combined with 
artistic excellence. As a pupil of Delacroix, Lambert has borrowed 
much of the richness of his master’s palette, while his individual concep- 
tion places him at the top of the limners of the feline race. The playful 
gambols of these kittens form a delightful study. 


Signed at the right. Height, 1034 inches; width, 1334 inches. 
e4 | 
QO 17 Bi Fhe 
WILLIAM HART United States 
Cattle 


A native of Paisley, Scotland, William Hart was taken to America in 
early youth, and became one of our leading cattle painters. He is self 
taught and was elected a National Academician in 1858. This excellent 
example is one of his smaller easel pictures. 


Signed at the left. Dated, 1871. Height, ro inches ; width, 8 inches. 
\ \ m™~ 

—+ \): 18 ; 
HERMANN HERZOG United States 


Atlantic City Inlet 


Fleeing from. the approaching storm the fishing smack, under reefed 
sail, is scudding along for the safe harbor; a man on the broken pier 
ready to lend a hand with coil of rope, if need be. The water is given 
in its true turbulent state ; the sky is dark and stormy. 

Signed at the left. Dated, 1871. Height, 13% inches; width, 19! inches. 

II 


FRIEDRICH KRAUS Germany 


The Garden Stroll 


This genre and portrait painter was during the later part of his life 
one of the most popular members of the artistic colony in Berlin. Stand- 
ing amid the dark-green foliage and flowers of her garden, this woman, 
with sunlight flickering over her white dress and making portions of it 
shine with soft, silvery tints, is a most attractive figure. The attitude 
is graceful, the composition simple, and the color refined. » 


Signed at the upper left, Height, 21 inches; width, 13 inches. 


ANCE 
GC. Es PIERCE United States 


Cow and Calf 


In a forest clearing cow and calf stand with bovine serenity bathing 
in the sunlight, which makes patches of brightness as it steals through 
the heavy, umbrageous trees. The drawing is excellent with charming 
tone and clear, clean color. 


Signed at the right, Height, 17 inches; width, 14 inches. 


ot 


A Ps “ ’ ; 4 “ 
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OND a ANY 
YY aE Nae al 2I 


ANTON SEITZ Germany 


Roving Musicians 


This is a representative example of the best products of the Munich 
school. The microscopic brush work does not suffer the picture to fall 
into weakness. The details hold so well together, and the color is so 
skilfully graded, that with all its academic flavor the canvas is a most 


I2 


striking ofie. The light, centring around the nursing mother, is subtly 
gradated to the further corners. 

The group represents a band of strolling minstrels, or mountebanks, 
who have been given shelter in a stable and are preparing their even- 
ing meal. The advent of viands is awaited with philosophic calm but 
pleasurable expectancy by the dog and the monkey as well as by their 


masters. 
Signed at the right. Dated, 188:. Height, rz inches ; width, 161% inches. 
rr 
o=. 22 : 
E Ze 
ALFRED STEVENS Paris : 


Rist Oe j 
b ye In Memoriam (“> Mt Re 


Born in Brussels. This artist, after his studies in Paris were accom- 
plished, acquired great fame with his graceful representations of elegant 
modern interiors enlivened with women’s and children’s figures. He 
became a master painter of beautiful women. The expression on the 
face of this devoted daughter betrays pent-up emotion while affixing the 
sprig of evergreen to the mother’s picture. It is one of those pictures 
which, on account of its tender sentiment, it is well to live with. The 
voluminous black gown is well contrasted with the bright-colored chintz 


chaircover. 
Signed at the right. Height, 1314 inches; width, ro inches. 
\ ; ae ? 
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GEORGE H. BOUGHTON London 


The Skipper’s Watch 


George H. Boughton, taken early to this country, and receiving his 
training in Albany and New York, can scarcely be counted as an Ameri- 
can artist. He has resided now for over thirty-five years in his native 
England, and although he often chooses for his subjects the Puritan 
Girl, as she is described in Hawthorne’s tales, he still follows in methods 
the lines of the present English school. The subject before us is a 


13 


typical English scene. The white chalk cliffs, the walled coast-guard 
station, and other accessories form a good setting for the group of ‘*‘ Age 
and Youth” in the foreground. The contrast between the weather- 
beaten old salt and the chubby little grandchild is well marked. The 
little ones playing on the old cannon, and the lookouts watching the 
ships in the offing, are secondary notes of interest. 


Signed at the right. Dated, 1874. Height, 14 inches; width, ro inches, 
oO a 
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ALBERT BIERSTADT United States 


Sunset in the Tuolumne—California 


Bierstadt was born in Dusseldorf, and was brought by his parents, in 
earliest infancy, to America, where they settled in New Bedford, Mass. 
After studying in Europe, he made a sketching tour of the Rockies and 
gathered there the material for his best pictures, such as ‘* Mount 
Hood,” ‘‘ Estes Park,” ‘‘ Yosemite Valley,” and ‘‘ Rocky Mountains,” 
which are widely known and have sold for very large prices. 

In this easel picture, we find the moist air of evening charged with a 
hot, yellow glare of sunset, falling over the marshy meadows and edg- 
ing the trunks of the big trees with lines of light. Deer are grazing on 
the rich grass of the bottom lands. The picture is more serious and 
subdued in tone than most of the artist’s larger productions, which are 
sometimes rather spectacular. 


Signed at the right. Height, 14 inches; width, 1934 inches. 
As OCherefld 
» | 2 2 ds 
VSR RICO Spain % 


A View from the Garden Yunatt hf va 


This is probably one of the best pictures Rico ever painted. It is 
the corner of a white mansion on the canal, similar to many in Venice, 
but it is so picturesquely presented that it takes the eye with admira- 
tion when the beautiful details are discovered. Nothing is slighted ; all 
is clear and true. The color of the sky, through which filmy clouds are 
travelling, vibrates in the shadows of this fine specimen of Rico’s art. 


Signed at the left. Height, 15 inches; width, 7 inches. 
14 


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G. BOLDINI Paris 
Song of the Bird jas 


Boldini is well known in this country through his portraits of well- 
known people and his charming small figure pictures. His style some- 
what resembles Fortuny’s, yet has an individuality of its own. His 
brush is freer, his stroke more rapid. The lady, in summer costume 
rambling through the tangle of high grasses and bristling bushes, is 
graceful and captivating. The attitude well expresses her listening to 
the song bird in the branches. The flecky clouds in the deep blue sky 
add to the effect of the composition, which gives a charming ensemble. 

Signed at the left. Dated, 1872. Height, 21% inches; width, 13 inches, 


Z IS , 
ail G OOPS | 
27 CLE L644-4,4~ 
Teer LDR S Paris ppudl 
; ae fOr 
The Sleeping Sexton * ara ie ha i Ag 
Of all French painters the wittiest, and of phe eae most Geer 
charming, Vibert is popular in France even more than abroad. The 
old saying of a prophet being without honor in his own country does 
not hold true in his case. Medals and orders have come to him in 
large numbers. The secret of this success? Vibert has always been 
able to lift a page of human life, and that appeals tohumanity. And 
when a little spice in humorous satire is introduced, it is human to 
enjoy a little teasing, especially if some one else is the object. Thus, 
his slightly irreverent poking fun at ecclesiastics, not by any means 
_generally respected in France, has given him a hold on all classes. 
It must be said that the artist, perhaps through the exigencies of 
trade, is not always true to the highest requirements of the art which 
he serves. The example before us presents him, however, at his best. 
Who does not remember the pomposity of the French beadle? All will 
then enjoy the man of straw in the gorgeous livery of this sleeping 
Sexton. ‘To touch on the other figures introduced: the fine irony, 
and perfect appreciation of character can readily be recognized. The 
execution, the technical perfection of this painting is, however, one of 
its strongest points, for there is a fidelity, combined with freedom, 
which makes this panel a perfect gem. 
Signed at the right. Dated, 1871. Height, 1734 inches; width, 13 inches, 


15 


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PAUL VERNON Paris 


The Canine Pets 


It is, perhaps, to be regretted that this artist, whose dexterity with 
the brush must remain unquestioned, seeks in his subjects and com- 
positions almost exclusively to imitate his master Diaz. It almost 
seems as if the same models have served for both master and pupil ; 
and as to color, as if the same palette were used. 

It cannot, however, be denied that the dexterous handling of his 
implements has produced a most charming and colorful picture full of 
grace and sentiment. 


Signed at the left. Height, 17% inches; width, 14% inches, 


R. DE MADRAZO scare 


Languor: A Reverie re 
" a he oe ed Gov 

Raimundo de Madrazo, born 4n Rome of Spanish extraction (his 
father being the famous Madrid painter), and living in Paris, with fre- 
quent visits to New York, is a cosmopolitan by inclination, Parisian in 
spirit, and Spanish in verve and color. He needs no introduction to art 
lovers here, who have admired his life-like portraits of superfine ap- 
pearance. 

Indulging in the luxurious idleness of Cleopatra, this Spanish co- 
quette, with bright eyes and sparkling smile, has her head filled with 
the fancies of her conquests. If any of her admirers should approach 
they would be ravished by her nonchalance and charm. 

The picture is exquisitely painted with sure touch and delicate hand- 
ling of the effect of light. 


Signed at the left. Height, 17 inches ; width, 2134 inches. 
16 


30 7 /; os doce Ae. 
Z 


ADRIEN MOREAU Paris 
Rambling—Springtime Vv 


Moreau paints many pictures of life in the French courts of the last 
two centuries, in a spirited and humorous manner, which are well-known 
here by reproductions. He lives, however, also in the present, as Ma- 
demoiselle Frou-Frou before us will suggest. It is a delicate Parisian 
fancy, this ramble in the fields in the dainty costume of pleasing colors. 
The clump of bushes and bank of verdure serve as a good setting to 
the figure. The manner of handling the distance with its placid river 
and hills beyond shows that technical skill for which the artist is cele- 
brated. 


Signed at the right. Dated, 1872, Height, 21 inches; width, 17%4 inches, 


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< O ' 31 LIT OOP i sitek 


Seer avE DE JONGHE Belgium 
Hide and Seek 


The scene is pretty ; the child dragging Polichinelle by his string is 
cunning ; the woman an image of motherly happiness—thus far the sub- 
ject. Technically the work is equally interesting. The relief of the 
black dress against the screen should be noticed. There is excellent 
drawing. The room is full of light, life, and atmosphere. 


Signed at the left. Height, 21% inches; width, 17% inches, 
Fe 
y ' Ate 
aN Ag 32 HLA / Athy 
HEINRICH HANSEN Denmark 
The Armory 


Born at Hadersleben, and a pupil of the Copenhagen Academy, 
Hansen soon became noted for his correct architectural drawing in his 
genre painting. He broadened his scope by his travels through Ger- 


17 


many, Western Europe, and Spain; while the honors which gradually 
came to him culminated in his appointment as professor at the Copen- 
hagen Academy. 

The Armorial Hall represented in this picture is a most interesting 
example. The bright sunlight plays and sparkles over the steel armor 
and polished surfaces of the marble columns which support the vaulted 
roof, The various workmen engaged in repairing the baronial trap- 
pings are interrupted by the Master’s approach, who is descending 
the curious, spiral staircase leading from the upper hall. There is a 
wealth of antiquarian study suggested in this composition, which, to- 
gether with the well-defined execution, makes it an unusually attrac- 
tive painting. 


Signed at the lower right. Height, 17% inches; width, 22% inches, 


my 
OES > - 
Xt xh 33 Z S 424711.2714 145 
| BIANCHINI : Italy 
Madame Le Brun 


This isa portrait of Madame Le Brun in her younger years, by an 
Italian artist, who took the features from one of the many self portraits 


of this famous Frenchwoman. 
Height, 22% inches ; width, 16 inches. 


\a > wh Ag sll 
LADISLAUS BAKALOWICZ “| Poland 


The Morning Call 


A scene at Warsaw, with the grandames exchanging courtesies in the 
aristocratic mansion. ‘The rich interior, with marble columns at the 
entrance, and solid buffet at the side, are a worthy setting to the sump- 
tuously rich costumes of caller and hostess. A beautiful picture in 
which the skill of showing of texture must be remarked in the blue velvet 
robe, and the rich white satin dress with creamy lace. 


Signed at the left. Height, 21% inches; width, 16 inches, 
18 


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Gyo ai 35 C7 2e22 


BG, KOEKKOEK Holland 
Landscape 


Barend Cornelis Koekkoek was a painter who had cut loose from 
academic methods in a time when such action was an unpardonable 
heresy. He painted nature with care and smoothness, yet with the 
nervous energy of a man who is strong in his brush and palette. He 
may be considered to have been the Dutch complement of the French 
so-called Barbizon school. 

His first training was received from his father, a noted marine 
painter, but he soon became a pupil of the Amsterdam Academy 
under Schelfhout and Van Os. In 1841 he travelled in Belgium, the 
Ardennes, and along the Rhine. Later he founded an academy in 
Cleves. 

The landscape before us is from his later period, showing the land- 
scape of one of the Rhine tributaries. It has all the points of excellence 
by which Koekkoek became famous. 


Signed at the right. Dated, 1852. Height, 17% inches ; width, 22 inches. 


“\ 4 
\ \ ‘ 36 
WIL a. igo te Dg@ keene Op hab United States 


From Bohemia 


This is one of those aggregations of objects which must have been 
found in some fourth floor studio of the Quartier Latin. Study the 
various implements which make up this still-life, and you can picture 
to your mind’s eye the long-haired, bespectacled owner of all these ingre- 
dients of good cheer. 

The painting is very clever; marble slab, copper jug, parchment book, 
pipe and tobacco all showing true to nature. 


Signed at the left. Dated, 1888. Height, 21% inches; width, 25%4 inches, 
19 


MRS! ZS Bibel 


aves 


KO » 7 
PETRUS VAN SCHENDEL Belgium 
Market by Candlelight 


This pupil of the Antwerp Academy is the most famous painter of 
such candlelight effects aswe have now before us. He was the first 
to successfully give those peculiar light notes produced by various 
sources, not strong in themselves. Many have since essayed to solve this 
most difficult problem, which also ‘‘ the little masters” of the Flemish 
school loved to experiment on. Van Schendel’s work is deservedly found 
in most of the European museums. This picture is painted with the 
smooth finish of the pupils of Baron Wappers, so unlike the broader 
touch of the Dutch school. Although there are various light sources in 
this picture, there is no conflict, each being well kept to its proper 
strength ; the light centre puts the two main figures in delicate relief. 


Signed at the right. Dated, 1866. Height, 25 inches ; width, 19% inches. 
| ate ote 
FLORENT WILLEMS Paris 
Good News 


Born at Liége, Willems studied especially the Old Masters, after his 
talents had shown themselves during his apprenticeship with a picture 
restorer. When but seventeen years old he attracted great attention, 
and his first picture was hung in the Salon when the artist had barely 
turned twenty-one. Such precocity, however, did not end in a fruitless 
after life, for the name of ‘‘the Belgian Meissonier” which has been 
given him, attests the rapid progress which Willems has made in his 
art. 

His minuteness of detail in this picture is combined with ease of 
handling the colors, which are subdued and rich ; the textures are given 
with wonderful fidelity, the heavy portiére in the background being 
especially correct. There is a deftness in the handling of the shadows 
which denotes a master in chiaroscuro. The values both of the dark 
and the light gowns should be noticed. 

Signed at the right, Height, 28% inches ; width, 23 inches. 

20 


a ; a FE OW ee 


J. G. BROWN United States 


The Passing Show 


A man forced to do a thing he likes, is doubly happy. This is the 
case with J. G. Brown and his bootblacks. His work is very popular. 
The canvas here shows five street urchins, and shows them perhaps 
better than the later well-known youngsters with which we are so 
familiar, The tone of the picture is better than that of some of the 
artist’s later work. The expression of expectancy according to the char- 
acters of these boys, is inimitable. 

Signed at the right. Dated, 1877, Height, 19! inches; width, 29% inches. 


Ys 
40 


L. COMELERAN 
Twilight Landscape 


“ Twilight gray Fs 
<e *» | Had in her sober livery all things clad, f 
. Silence accompanied.” | 
‘This is the subdued sentiment of this exquisite canvas. There is no i 


tour de force, no specious trickery of golden bars of clamorous hue, 
socommon in an evening twilight. The landscape is bathed in the 
soft, rich light which has deep shadows as its foil. 

This Parisian artist is of a serious bent of mind, as is readily seen in 
this work. He loves to picture the rural road, the suburban dwelling, 
the rustic scene, rather than the gay surroundings of his town studio. 


Signed at the right. Dated, 1872. Height, 20 inches; width, 27% inches. 
4I oe ah y - as 
R. S. DUNNING United States 


Apples and Straw Hat 


An admirable piece of still life. The apples are most naturally 
painted, while the color is rich and resonant. 
Signed at the left. Height, r9 inches ; width, 25 inches, 
2I 


. ‘ 42 


oP, \ oF 
- IGNACE: DE LEON Y ESCOSURA _ Spain 
Sans Invitation 


Born at Oviedo, this artist became a pupil of GérOme in Paris. His : 
natural bent is towards historical research, the results of which he in- 
troduces in the genre pictures which he mostly paints. He is not a 
stranger in this country, which he has several times visited to ‘paint 
local subjects and portraits, 

The story told by the picture before us is, in spite of its irreverence, 
an amusing one. The devil-may-care swashbucklers are making them- 
selves. thoroughly at home in a place where the latch string surely did 
not hang out for such as they. The mock servility of the carbineer in 
the hall-way proves that the smile on the face of the poor monk pouring 
the wine is but dom mien au mauvats jeu. 

The details of composition should be studied—the poses are so natural 
and easy. The values are skilfully handled. Itisa charming picture. 


Signed at the left, Dated, 1871. Height, 19 inches; width, 23% inches. 
O° OF aa | 
Be gan 43.4 P ( Peden Z 
BLAISE ALEXANDRE DESGOFFE Paris 


Objets d’Art in the Louvre 


Desgoffe, who paints exclusively still life, has brought himself t to: 
marvellous perfection in this branch of art, and may be considered 
without a rival; this place of eminence being assigned him by no less 
a judge than Hamerton, the famous English critic. It is known that 
his dexterity in skilfully imitating on canvas costly works of art has 
procured him access to the treasures of the Louvre, a privilege granted 
to no other artist. 

The picture before us is a ae of dexterous representation. 
The crystal vase is transparent as its original ; the ivory mug with 
silver mountings shows the same rich sheen and delicate carving— 
there is a curious little figure of St. George; the onyx goblet, the 
loose flowers carelessly thrown among these precious articles, the rich 
embroidery of the heavy tablecover, each is represented with micro- 
scopic minuteness, yet with realistic force. 

Signed at the left. Dated, 1868. Height, 24 inches ; width, 21 inches. 

22 


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44 
RUDOLPH ERNST Germany 


Moslems at Prayer / 


The muezzin has sounded the call to prayer from the minaret, and \ di 
these Mussulmans perform the devotions of their faith. With out- Vv 
stretched hands the one, the other in squatting posture, yet both devout. 
The beautiful temple interior, the textures, the rich coloring, the loving 
touch of a not too hasty brush, all combine to make this a desirable and 
satisfactory painting. 

The elaborate and appropriate frame is in harmony with the picture. 

Signed at the left. Dated, 1885, Height, 25 inches; width, 20% inches. 


AC 0) 45 RES: ecg 
A. F. BUNNER United States” 


Ponte Vecchio, Venice 


Andrew Fisher Bunner was born in New York. For five years he 
travelled through Germany, France, and Italy, in which latter country 
he was especially attracted by picturesque Venice. He remained there 
several years, his views of that wonderful city being so highly prized 
that he scarcely had time for the delineation of other subjects. 


Signed at the right, Height, 2114 inches ; width, 314 inches. 


Hey Sat Ou? VA fd VA 


JOSE VILLEGAS Spain 


Wayside Discussion 


Heat and light were never more powerfully represented than on this 
canvas, for the sun seems fairly to rain light upon the white walls and 
the blinding sand. The greatest skill is required to paint a work like 
this, for if clear whites are used the effect is chalky and the sense of heat 
is lost, while if the highest notes of color are adulterated or neutralized 


23 


to an appreciable degree, the vividness is gone and the sense of light is 
lost. In this picture the technical methods for mingling white with 
sunlight have been used to perfection. The scant vegetation of spiked 
bushes and hardy cacti indigent to African soil are truthfully given, 
while human life in all that torrid heat is presented in the idling, gos- 
sipping Moors, the approaching horseman in the middle distance, and 
the listening woman over the wall, It is an African scene of wonderful 
power and vividness. 


Signed at the right. Height, 2x inches; width, 3134 inches. 
47, 
WILLIAM. T. RICHARDS United States 


Conanicut Island 
(Water Color) 


William Trost Richards is a native of Philadelphia, a pupil of Paul 
Weber, a German artist of that city. He travelled extensively through 
Europe. His excellent work procured him an Honorary Membership to 
the National Academy of Design. 

This scene presents a rocky cove on the shore; a party of tourists 
have just returned from a stroll on the island and are yet lingering in 
this romantic spot. A well-painted composition. 


Signed at the right. Dated, 188z, Height, 22% inches ; width, 36 inches. 
ae 
abe, S 9 Hag 
48 Lah ee ae 
THOMAS HILL United States 


Pond Brook, New Hampshire 


Born in Birmingham, England, this artist came to America when 
about twelve years of age. He is mostly self-taught, and has had stu- 
dios in Boston, San Francisco, and Philadelphia. His California scen- 
ery is quite popular, while at the same time he has looked for quieter 


24 


effects with equal success. In this picture there is a charming sum- 
mer day depicted, in the trout season, the artist himself whipping the 
stream for speckled beauties. Tender light filters through the summer 
foliage, and the brook, reflecting both sky and leaves, shows tints of blue 
and green, of sapphire and beryl. The gnarled oaks and leafy maples 
edge the clear water, in which the bright pebbles are visible. It isa 
summer idyl. 
Signed at the right. Dated, 1874. Height, 29% inches; width, 24% inches. 


Va 


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oe ' MG Nass é 7 > y p 
TEAC yeti 


49 
KLOMBECK AND VERBOECKHOVEN Brussels 


Landscape and Sheep 


The early Dutch and Flemish schools are especially rich in examples 
where artists combined their specialties to produce a picture of more 
than ordinary excellence. Rubens often painted the figures in the 
landscapes of some of his friends, while Breughel and De Mompers like- 
wise produced such dual works. The combination in this case is a pe- 
culiarly happy one. Verboeckhoven’s forte is sheep, while the land- 
scapes of Klombeck, with their heavy, unbrageous trees, are regarded 
as being farabove the common. There is great depth and distance in 
this canvas, there is the fresh coolness of the morning air, the babbling 
brook, and the quiet motion of the journeying flock—all that which 
makes the landscape perfect. 

Signed at the left. Height, 221% inches ; width, 34 inches. 


ES C40N / ec, 
ai #6 sf 


A tt | 
y q~ > 50 CP a ga 
ANDREAS ACHENBACH Germany 

After the Storm \ 


This strong and vigorous naturalistic painter may be considered the 
least addicted to the mannerism of the Dusseldorf school, to which by 
early instruction and later affiliation he is considered to belong, and of 


25 


which he is by far the most distinguished member. His early views | 
of the Rhine, fresh and individual, indicated already the breadth and 
vigorous grasp with which he was to treat mountain, forest, and the sea 
alike, after his travels through Holland, Norway, the Bavarian Tyrol, 


and Italy. 


by the struggling sun-ray breaking on the white cottage wall, make this 
picture a most characteristic example. The people who have sought 
shelter under the hospitable roof, picturesque with its dormered window, 
have emerged and are wending their way homeward, some still lagging 
behind at the door. These people, however, only add life to the scene. 
The strength of the canvas lies in the broad treatment of rock and tree 
and elements at war. It is one of those pictures which gave Achen- 
bach his wide celebrity, and for which he was awarded numerous medals 
and various honors, 


The heavy clouds, the wind-shaken trees, the muddy road, relieved 


Signed at the left. Length, 30 inches ; width, 21 inches, 


“Yoo: 


51 
DON LUIZ ALVAREZ | Spain 


Preparing for the Masquerade 


This contemporary artist, a pupil of the elder Madrazo, was born in 
Spain, and studied some years in Rome. His first picture, painted in 
Florence in 1861, though completed in the face of depressing difficul- 
ties, obtained a medal, and when taken to Madrid, excited such favor- 
able comment that the way to substantial success became easy. His 
style, somewhat florid, is ever full of contrast, his composition well con- 
trived and attractive. 

The story of this painting is well told. The centre of attraction is the 
youth, who is being prepared to masquerade asa lady. The gown is 
held up for his inspection, dainty fingers arrange his coiffure, while 
witty hints as to his behavior are given him by his masked vis-a-vis. 
The secondary group, flirting at the mirror, the peeper around the 
screen, the worrying spaniel, the garniture of the chamber are all 
skilfully arranged and most effective. 

Signed at the right. Dated, Roma, 1871. Height, 23% inches; width, 31 inches, 

26 


5s Qi 


JOSEPH COOMANS Belgium 
A Basket of Flowers 


This widely-travelled artist, who was born in Brussels, was first in- 
structed in Ghent by Hasselaere, himself but a mediocre artist, and 
later at the Antwerp Academy by de Keyzer and Baron Wappers. He 
went with the French army to Algiers, where he spent several years, 
then visited Italy, Turkey, Greece, and the Crimea. Returning to 
Italy in 1857, he was attracted by the Pompeian paintings and subse- 
quently painted almost exclusively subjects from antiquity. He had a 
studio in New York in 188g-go. 

The Roman lady before us, holding the basket of flowers, is an 
ideal beauty. Her white skin, blonde hair, glossed by sunbeams, 
graceful robes draping the well-drawn figure, and rich ornaments, form 
a most attractive picture of refinement and breeding. 


Signed at the left. Height, 3134 inches; width, 25% inches. 
ey 4 
OY. Ripe es a SU Lin 
53 oe Pa Ae CLA LED Len 
ALEXANDRE CABANEL Paris 


The Evening Star 


Cabanel was born at Montpellier. His earliest work was devoted to 
historical genre and portraiture. Previous to 1861 he painted in the clas- 
sical style of David, of which no trace is visible in his later work. He 
was a master of the human figure and exemplifies in many of his nudes 
the contention that the female form divine is the idealization of beauty, 
the artistic enjoyment overcoming sensuous suggestion. Besides being 
the recipient of many honors, not the least of which was the Grand 
Prix, he also held a professorship in the Ecole des Beaux Arts. 

The delicate, chaste rendering of this floating figure bearing the 
evening star is most charming and full of spiritual sentiment. The 
filmy drapery does not hide the graceful lines, nor can the ease of arms 
and half-turned head be well improved upon. The whole suffused in 
that pale bluish light which a rising moon imparts adds a dreamy soft- 
ness to this poem of the night. 

Signed atthe left. Dated, 1875. Height, 36 inches; width, 20% inches, 


27 


A 
Raiden 90, 
c) te pe 


EUGENE VERBOECKHOVEN Belgium 
¥- Sheep in the Stable 


No mari has ever been able to give the woolly texture of the sheep 
coat like Verboeckhoven. Whatever foundation there may be for criti- 
cism on his placing animals against the sky, it is beyond cavil that his 
barn interiors are the best of his work. The rich light falling through 
the open door in this stable is excellently used for the play of values, 
which are well sustained. This is a most representative example of the 
artist’s best manner. 

Signed at the right. Dated, 1867. Height, 29 inches; width, 39% inches. 


4, \ 
ol Ee 
od 55 A A AYA 
DON VINCENTE PALMAROLI Spain 


Selling Antiquities 


Palmaroli is one of the chief painters of his school. In color and 
style he somewhat resembles Fortuny, being slightly more reserved and 
subdued. ‘The picture before us is the most important specimen of his 
work in this country. There is the effusive richness of a Moorish bazaar 
in the wares littered about and held up for sale. The Sefioritas in their 
picturesque costume, the sefior hidalgo with his sefiora, the burnoosed 
Moor on the metal-mounted chest, and the antiquary are portraits from 
life. The color is full and opulent, and the texture-painting perfect. 


Signed at the right. Height, 27 inches; width 35% inches, 
aN ati hr Zs Ara 
56 '¢ ike ‘i bees: 
LUDWIG MEIXNER Germany 


The Moon on the Waters 


This Munich artist excels in moonlight scenes, to paint which he was 
inspired after some visits to Norway and Sweden, wherewith he com- 
pleted his study years. In this picture the full radiance of the northern 


28 


moon is shown as it falls from behind the filmy clouds upon the waters. 
There is a well-thought-out effect produced by the dark silhouette of the 
graceful bark against the sky. The dimly seen headland, and the boat 
pushed out into the rippling surf, which just catches a few light-rays, 
combine to produce a composition enhancing the masterly light effect. 
Signed at the left. Dated, 1872. Height, 45 inches; width, 34 inches. 


| 2 
\ \0 pe At d Hee ee 


57 
FRIEDRICH KRAUS Germany 


The Necklace 


This picture is painted after the best manner of the German artists, 
with softness and simplicity of coloring. Though subdued, the tone is 
rich, and in the morbidezza may be found something of that ripe, 
luminous, ideal quality of color which is often found in the nudes of 
Rubens ; this picture rightly lacking the voluptuous fulness of the 
models of the great Flemish painter. The string of pearls, exquisitely 
painted, gives title to the picture. It is a most attractive face, a grace- 
ful pose, and has an excellent foundation in the heavy red cloak. 


Signed at the right. Height, 30% inches; width, 25% inches. 
; e™, 
eo 
\ 58 d i 
HERMAN TEN KATE Holland 


Headquarters of the Guard 


This eminent Dutch artist, whose works since his death have greatly 
enhanced in value, was born in The Hague, and became a pupil of 
Kruseman, at Amsterdam. He early distinguished himself, winning a 
medal when but nineteen years of age. The patriotic love of Hollanders 
is the cause of the avidity wherewith this artist’s historical works are 
being collected for preservation in the various provincial museums of 
Netherland. 

The panel before us shows an incident at the end of the sixteenth 
century in the great eighty years’ war of Holland with Spain. A lieuten- 


29 


ant has brought a message to the Senior and Junior Captains of the 
troop, who are discussing the reply to be made. The tri-color in the 
corner, the oldest national flag used at the present day, had just been 
adopted as the ensign of victory. The coloring is beautifully harmoni- 
ous, the grouping picturesque. It is one of those story-telling pictures 
which do not lose by this quality, as here it does not detract from the 
artistic and suggestive excellence. 


Signed at the right. Dated, 1868. Length, 25 inches ; width, 37% inches. 
RICHARD BURNIER Germany 
Cattle 


Burnier was born in Holland, but was early taken to Dusseldorf. 
After his studies there, he elected to follow more the promptings of 
nature, schooling himself also in a study of the Dutch masters. Al- 
though taught at one time by Achenbach and Schirmer, he left their 
style completely, preferring after his visit to Paris to follow Troyon 
and the French idyllic painters. The example before us must at once 
be recognized as the work of one whose conception of art was broad and 
vigorous. These cows are vital and real. Few painters outside of the 
Dutch school, however, have so well put atmosphere on their canvas as 
Burnier has succeeded in doing here. It is the heavy morning dew, 
through which the farmer with his milkpail yoke is seen approaching. 
“This is an example worthy of the best cattle painters. 


Signed at the right. Dated, 1876. Height, 2434 inches ; width, 34 inches. 
mS ” \ os we 
“ o Wien loge Be 
F. 
CORELLI Italy 


The Old Witch 


A picture somewhat lurid in color, for which an old Italian woman 
furnished an expressive model. The weird surroundings of snakes and 
lizards and the bright lights furnish a picturesque ensemble. 

Signed at the right. Height, 40 inches ; width, 261% inches. 


30 


% sai og kph ss 


WeCAROLUS United States 
The Chess Players 


An excellent subject picture in which the expressive countenance of 
each person shows absorption or interest. The costumes are gracefully 
depicted. A picture of refined elegance well executed. 

Signed at the left. Dated, Bruxelles, 1872. Height, 32 inches; width, 41 inches, 


a: Mikel Rg Be ope Os 


ALBERT F. BELLOWS United States 
Into the Sea 


Bellows was chiefly known for his water colors, although his oils are 
of special importance. This is a charming subject of the elder sister 
giving the younger one her first ocean dip. The color is pleasing, with 
further good points in sky and water. 


Signed at the left. ' Height, 41% inches; width, 3534 inches. 


‘ K Ne as 
\ 63 CT oO 


HENRY BACON America 
Paying the Scot y V0 7? ee 


Henry Bacon, who has an honorable record as a veteran of the war 
of the Rebellion, serving with distinction in a Massachusetts regiment, 
has attained distinction with his cleverly contrived scenes of village life. 

In this picture a travelling artist dashes a fresh coat of paint on the 
inn-keeper’s old sign-board in payment for his reckoning. Of course 
he attracts almost the whole neighborhood, whose various poses and 
actions are given with telling strokes. Special attention should be 
given to the smoker sitting at the window on the left. 


Signed at the left. Dated, 1870, Height, 34 inches ; width, 45 inches. 
at 


\ 


79° 


\ 


EDWIN LORD WEEKS United States 
The Three Princesses in the Alhambra 


The three Princesses here represented were the daughters of Moham- 
med the Left-Handed—Zayda, Zorayda, and Zorahayda—whose story 
is told in Irving’s ‘‘ Alhambra.” The first two eloped with Christian 
lovers, through fear of whom their father had confined them in this 
tower. 

This interior gives an idea of the splendor of the Alhambra in the 
days of the Moorish occupancy of Spain. The minute carvings and 
arabesques, the green and gray tessellations in the pavement, the lavish 
color on the walls, the bright rugs, costumes and metal-work, illustrate 
the fertility of the Oriental fancy. Weeks, like Bridgman, is a pupil of 
Gérome, and like him, paints few except Oriental subjects. 

te al the right. Height, 31 inches ; width, 39 inches. 


EDWARD H. MAY 
The Song 


A most serious problem, happily solved. It required a bold and 
daring artist to portray a woman in the act of singing. In this case the 
attempt was crowned with success. The pose is graceful, the tilt of the 
head expressive, the texture of the dress excellent, and there is a 
splendid background to it all. The early training of this artist by 
Daniel Huntington in New York, and Couture in Paris, is manifested 
in the surety of handling of this subject. 


Signed at the left. Dated, 1880. Height, 45 inches ; width, 29 inches. 
fa / em Me AE 
a a Ch a j 4D 
\G pee 


PIERRE AUGUSTE COT Paris 
The Coming Storm 


The artist, a native of Bédarieux in southern France, was a pupil of 
Cogniet, Cabanel, and of Bouguereau. His individual style shows yet 


32 


/ 


United States” 


the excellences of each of these masters, He wedded a daughter of 
_Duriet, who designed the caryatids that surround Napoleon's tomb. 
Being almost exclusively a painter of portraits, his work is little known 
outside of France, though all his canvases are pictures of great worth. 
He was one of the decorators of the Hétel-de-Ville, destroyed by the 
Commune. 

There is a curious conflict of title in connection with this picture. It 
has always been known as ‘‘ The Coming Storm,” whereas in Europe 
the reproductions, which are amongst the most popular known, are 
called ‘‘ Paul et Virginie” from the love-idyl of Bernardin de Saint- 
Pierre. This picture antedates bya few years the larger replica, which 
now hangs in the Metropolitan Museum. It is a most captivating pro- 
duction. The lithesome swarthy youth, the lovely maid in diaphanous 
robe of white, the play of light on the musing figures, the threatening 
darkness forked by lightning—all is presented in masterly fashion, full 
of grace and tender feeling, 


Signed at the left. Height, 47 inches ; width, 31 inches, 
\ ‘ eo ‘4 ba MS is win 
Ds \ f\ Ys aS ye” “< i eg Pg fo BY a li 
\ Ng rr + Aa AL Lam / LEP AZ 
67 vd ee 
peer SCHREYER Germany 


Siberian Travellers 


Adolph Schreyer was born in Frankfort-on-Main, in affluent circum- 
stances, which enabled him, after coming to years of discretion, when 
a life choice was to be made, and he found the artistic fire burn- 
ing within him, to give himself, without care, to a thorough training for 
his profession. He was attracted mostly by the horse, and he studied 
‘“man’s best friend” in the riding-school and anatomically. When, in 
1848, he travelled with his friend, Prince Turn und Taxis, through 
Hungaria, Wallachia, and Southern Russia, he laid the foundations for 
that almost exhaustless series of bold and dashing subjects for which he 
has become world-famed. His later travels, in 1856, through Syria 
and Egypt, brought forth the ripe and rich reflections of the artist’s 
colorful mind in those Arabian horsemen which have fierce force yet 
subtle poetry. Ifa distinction is, however, to be drawn, we will find 
greater sincerity in his early period—more concession to the demands 


oo 


s 


of trade, hence lack of thoroughness and inspiration, in the Arabian 
period. 

In this picture there is no need to point out that mull, soft, knee- 
deep snow, the gusty cold wind, the sere leaves on the bramble-bushes, 
the fine values of white on the snow—all go to make an exceptional 
picture by a famous painter. 


Signed at the left, Height, 29 inches ; width, 55 inches. 
( <) 
68 : 
LEON PERRAULT Paris 


The Fisher Girl 


Perrault was a pupil of Picot and Bouguereau, and learned from them 
the scrupulous care with which he finishes his figures. Sometimes he 
indulges his fancy in the portrayal of gay dames in high life, at other 
times he is more seriously inclined. Then he invests the types of lowly 
life with pathos and poetry, and teaches lessons of deeper import, while 
showing the patience and gentleness of these children of the poor. 

In this picture he shows a face, such as we sometimes meet in the 
highways and byways of labor—earnest, sincere, melancholy even, 
yet gentle and loving. Of the technique we need only to remark how 
wide the color scale, yet how harmoniously arranged. The atmosphere 
is good, while a beautiful sky bends over the sea. 


Signed at the right. Dated, 1870. Height, 55 inches ; width, 3734 inches. 
\ & , 
, fy aes \ ; ¥ 3 7 < e 
Ao an 
1 a 69 C 
H. BOLTON JONES United States 
Tangiers 


Scarcely an exhibition passes that the work of this artist is not seen. 
Lately, however, there have not as important works come from his hands 
as the one before us. It is asplendidly executed canvas, in which many 


34 


technical difficulties have been successfully overcome. ‘The city on the 
hill, with its clay, gleaming walls, the green native growth, and the 
desert cacti, are all faithfully shown in their true values and planes. 
The touch of deep-blue sea in the far-off distance adds a coolness to 
the color scheme which is particularly happy. 

Signed" at the left. Dated, Tangier, 1880, Height, 36 inches; width, 5334 in. 


70 
HERRMANN HERZOG United States 


Niagara by Moonlight 


Herzog was born in Bremen, and after his studies in Dusseldorf were 
completed, he travelled extensively through Norway, Switzerland, Italy, 
and the Pyrenees, in which countries he painted numerous mountain 
landscapes, which are excellent in drawing and pleasing in color. 
In 1869 he came to America and settled in Philadelphia, where he soon 
became a prominent member of the guild of the brush. His wide 
travels in this country produced some of the best local scenery ever 
painted. ‘‘ Niagara by Moonlight” must be noted for its reserve. 
There is little of the lantern slide about this picture. It is simple, and 
through its simplicity as fascinating as that mightly thunderous roar of 
the ‘‘ King of Waters,” the pride of this continent. 

Signed at the left. Dated, 1872, Height, 55 inches; width, 4634 inches, 


L Po PLE 
YOOX: ie hae. 
> 71 
LOUIS MOUCHOT France 


Sortie of the Grand Council 


Of the artist: He was born in Paris, paints genre and landscape, 
dipped his brush in Egyptian sunlight, while schooling himself to portray 
nature in truth, thus he earned medals and the Legion of Honor. 

Of the picture: It is a grand work, nobly done. ‘‘ The Stones of 
Venice”’ never were brought together in simpler truthfulness to the 


35 


tt De Oe 
Nes Haga al Ae 
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LBD LI Foe, 


/ 


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bold sweep of the facade of the palace. The architectural detail, the 
linear and aérial perspective, are a fit framework for the exquisite mar- 
shalling of the various groups which now attract our attention. The 
Doge just descended to the foot of the staircase is surrounded by cour- 
tiers and counsellors, many following, others preceding. How each face 
shows character. Dignity, diplomacy, cunning, intrigue, pride, are all 
depicted in these portraits, one might call them for their excellence. 
Then admire the reserve of color, where the temptation for garish bril- 
liancy would be great. It is a beautifully toned picture of admirable 
strength. 
Signed at the right. Dated, 1872, Height, 46 inches; length, 70 inches. 


ped 
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WILLIAM T. RICHARDS United States 
j Marine 


4 hy 
Itt Dhou glorious mirror, where the Almighty’s form 


Glasses itself in tempests ; in all time, 
Calm or convulsed—in breeze, or gale, or storm, 
uke Icing the pole, or in the torrid clime 
Dark-heaving—boundless, endless, and sublime— 
The image of Eternity—the throne 
Of the Invisible ; even from out thy slime Ley 
The monsters of the deep are made ; each zone 
Obeys thee ; thou goest forth, dread, fathomless, alone.” 
—BYRON. 
Signed at the left. Dated, 1883. Height, 39% inches ; width, 72 inches, 


ES Jemma 


Pi f ge 


BO Op ELD ice 


puta 


36 


SLeONnD NIGH T's: SALE 


TUESDAY, FEBRUARY 28TH, AT 8 O’CLOCK 


AT CHICKERING HALL 


A Pe. 73 


vd 


AUGUST SEIGERT Dusseldorf 
Threading the Needle 


A characteristic example of one of the foremost men of the Dussel- 
dorf School. The details are carried out to perfection, while yet the 
great interest centred in finding that eyelet adds so much zest to the 
picture. It is without doubt a clever bit of painting. 

Signed at the upper right. 


Ve 


EAE 


Height, ro inches ; width, 8% inches. 


as 74 
DAVID COL Belgium 
The Sportsman’s Rest 


David Col was born in Antwerp and became a pupil of the Academy 
in his native place under De Keyzer. His pictures, which are mostly 
on a small scale, are carefully executed, without excess of detail, and 
are found in nearly all the museums and private collections of Belgium. 
This genre is an excellent specimen of his usual work, with those little 
touches here and there which make a picture real. The painting of the 
yarious still-life parts should especially be noticed. 

Signed at the right. Dated, 1873. Height, 11% inches ; width, 9% inches. 


37 


}o- 
oe fy 
4 99 fi Foe 


J. JULIANA Rome 
At the Bull Fight 
(Water Color) 


A Spanish scene of the national sport. The toreador, burly-looking, 
stands on the raised circle surrounding the arena, ready to jump in the 
ring when the opportunity comes to deal the fatal thrust. The specta- 
tors back of him are enthused by the spectacle. There is good color in 
this suggestive scene. 


Signed at the right. Height, 12 inches ; width, 8 inches. 


al 


HUGHES MERLE Paris ¢ 
Mother and Child 


The artist was a native of St. Marcellin, became a pupil of Cogniet, 
and for a time painted life-sized pictures of subjects taken from the life 
of the poor. Later he devoted himself to more cheerful compositions. 
The little picture before us can from internal evidence be assigned to 
the best period of the master, about 1870. The color tone is rich yet 
soft, with accurate drawing and poetic feeling. 


Signed at the left, Height, 84 inches; width, 6% inches, 
j Fe ae 77 t a 
C. P. REAM United States 


Still Life 
The grapes have the gloss of the luscious tokay, the peaches the 
velvety down of our California product, the rosin pearl which like a 
tear drop hangs to the blushing cheek is transparent, the wine glass, 
likewise beautifully painted. 
Signed at the right. Height, 934 inches ; width, 11% inches. 


38 


78 I 


FRANZ ITTENBACH Germany 
St. Catherine 


Ittenbach was born near Cologne, and received his early training in 
Dusseldorf, but allied himself with the Munich school, in which place 
he chose his residence. He painted historical subjects, portraits, and 
some famous frescoes in the churches at Remages and Neuss. He was 
a close student of the Florentine masters, taking from them his ornate 
color and decorative motives. The circular panel of St. Catherine is 
indeed ‘‘a picture of silver in a frame of gold.” The angelic expression 
of the face belongs to the saint who listens to the heavenly choirs. The 
jewels of the dress and crown add richness and splendor to the whole. 


Signed at the left. Dated, 1872. Circular, 12 inches diameter. 
we, oie 
y 
79 
Pao UN KEL Dusseldorf 
Inspiration 


Henricus Johannes Sinkel was born in Almeloo, Holland, and _be- 
came a pupil of Karl Muller at Dusseldorf, in whose style he paints 
religious subjects and portraits. His touch is subtle, his lines are fine, 
his color rich. This idealization of the painter’s art, lifting the soulful 
eyes to the inspiring vision, is a splendidly composed symbolism ; the 
painter could no better prove his conception of the spiritual side of 


his art. 
Signed at the left. Dated, 1871. Circle, diameter 5 inches. 
a VA. ae a0 cO 
RONALD BAUDUIN Brussels ~ 


Clara 


An ideal head, showing a charming profile, a cascade of golden hair 
rippling over the pearly shoulders, and a gossamer veil encircling the 
well-poised vignette. The whole is relieved against a rich background 
of intense blue. 


Signed at the upper right. Dated, 1881. Height, 9 inches; width, 7 inches. 
39 


C. M. WEBB Dusseldorf 
Old Man Smoking 


There is much latent humor in this character study. The old fisher- 
man, with his wise friend sitting on his hand, is evidently luxuriating in 
the sweet hour of rest. The type is perfect ; the rugged features, in 
which toil has plowed many furrows, are full of expression. The ac- 
cessories, where textures are shown, manifest a careful and well-schooled 
hand. The artist builds his work on the lines of the Dusseldorf school 
with the inspiration of the old Dutch masters. 


Signed at the left. Dated, 1865. Height, 11 inches; width, 9 inches, 
82 4 7 4 AVAL 
FIRMIN GIRARD Paris 


The Picnic 


Girard is a genre painter, whose fresh and brightly colored pictures 
of everyday life are well liked. There is a good deal of sprightliness 
about the various persons scattered here in this sylvan grove, where the 
brook babbles over the smooth rocks. The costumes of the day were 
always given by Girard with minute care and an eye to picturesque dis- 
play. The blue parasol makes a cool note in this shady glen, well 
expressing the pleasant enjoyment in this secluded spot, when out on 
the dusty road the sun must be uncomfortably beating down, when it is 
able to send such a strong ray on the central figure. 


Signed at the left. Dated, 1876. Height, 914 inches; width, 1334 inches, 
J. R. GOUBIE Paris 


The Favorite 


Jean Richard Goubie was born in Paris. He became a pupil of 
Géréme, from whom he took that exactness of drawing which we admire 
in his animal subjects. Whether painting a falcon hunt or a ride on 
the seashore, his style is always spirited and his subjects interesting. 


40 


Here we can readily understand the care this horseman has for the fine- 
bred hunter, which with his own hands he leads to the pasture, as he 
takes down the bars of the gate. This is a noble animal with spirit and 
gentleness. The landscape is delightful. 


Signed at the left. Dated, 1886. Height, 9 inches; width, 12 inches. 
LE Ly A. y a 84 a Fe 
HE ANN HERZOG Paris ali 
Ld 


Head of the Saco River 


Those who have journeyed among the White Mountains will recog- 
nize this scene ata glance. The little lake is the one near the head 
of White Mountain Notch, wherein the Saco takes its rise. The river 
flows through the craggy portals seen beyond it and winds about the 
foot of Mount Webster, whose huge bulk constitutes what is known 
from this position as Elephant’s Head, which looms up through sheeted 
rays of sunlight and lords it over the landscape. This scene of solitude 
and sublimity is well reproduced on the canvas, where the full grandeur 
of the deep cafion is visible before us. 


Signed at the left. Dated, 1871. Height, 13% inches; width, 19% inches. 
“) 
i Se 85 
CAV. ATTILIO SIMONETTI Italy 


The Meeting 
(Water Color) 


As a pupil of Fortuny, Simonetti imbibed the glowing love for color _ 
of his master ; his work is noted for its brilliancy, yet strengthened by 
a judicious use of heavier shades. A professorship at Naples attests the 
esteem in which he is held by his countrymen. 

The three beauties on their afternoon ramble meet a gallant, who 
readily would have foregone this triple pleasure for a single meeting. 
Still, he is ready in his merry mood to pass, “‘ like coin, the tinsel click 
of compliment.” The rich dresses in the dark setting of foliage fit well 
on images of delicacy and grace. 


Signed at the left. Dated, Roma, 1873. Height, 15 inches; width, 19% inches, 
AI 


86 a Pte ee 
G. FERRARI Italy 
The Suspicious Coin 


As professor of the academy at Bologna, his native place, Giulio 
Cesare Ferrari has exercised great influence on the later Italian school. 
As may be seen in this picture, this influence can only have been for the 
best, for the vivid colors, so natural to the painter of sunny Italy, are 
subdued and modulated. This cabaret interior is most picturesque, and 
the posing of the figures is artistically conceived. 

Signed at theright. Dated, Roma,1872. Height, 18 inches; width, 14% in, 


PVA CLIN oy rt eee Sieh Sieiee 
Vase with Flowers 


Martin J. Heade was born in Bucks County, Pa. After a sojourn of 
two years in Italy, where he studied in the various museums, he went to 
South America to gather sketches of the fauna and flora of Brazil. 
These sketches, originally intended for a book on South American hum- 
ming-birds, are now owned by Sir Morton Peto, London. In all his 
work there is manifest a decided love for color, as is shown in this 
loosely arranged vase of flowers, which is charming for its delicate tints ; 
while the rich and heavy curtain on the right forms an effective foil. 

Signed at the right. Height, 1614 inches; width, 13 inches, 


/ 
C. HARRY EATAN England 


English Landscape 


A characteristic view. In the foreground a field with daisies ; houses 
loom up behind the trees. An agreeable subject of restful quiet, with 
delightful color ; well-executed composition. 

Signed at the right. Height, 13 inches ; width, 1634 inches, 


42 


y) ie 
89 pv 


J. GUITEREZ Italy 


Alone 
(Water Color) 


An Italian peasant woman, belonging to the well-to-do class, stands 
in meditation in the woodland clearing. This is a good study, in which 
the picturesque local costume is given with much fidelity. 


Signed at the right, Height, 14 inches ; width, zo inches. 


aa S fe 
WT hawasssp A oe 
LUCIUS ROSSI Paris 


‘The Priestly Monitor” 


A précieuse with her duenna, instructed by the Carmelite brother on 
the vanities of this world—with what success we leave open for specula-_ 
tion. The florid and ornamental style with purity of color make this 
decorative panel exquisite and dainty. The tapestry painting on the 
rear wall of the open summer-house is well produced, the head and 
hand of the preacher are perhaps the finest points in this picture. Rossi, 
a Frenchified Italian, is well known by the fac-similes in color of his 
works which occasionally come from Paris. 


Signed at the right, Height, 18 inches; width, 15% inches. 
2 
a 
GUSTAVO SIMONI Italy 
Market Scene in Naples f 


(Water Color) 


Oriental subjects attract this Roman colorist. He gives them with 
force in the presentation of character, with a ready grasp of local color 
and a keen eye for passing incident. Bright summer sunlight is here 


43 


wa 


bathing the white walls of a Neapolitan street, where all is bustle and 
confusion. There is a happy mingling of buyers and sellers, donkeys and 
paniers, cabbages and ropes of onions, a bewildering array, skilfully 
put together without jarring contrasts of color. It is a cleverly painted 
picture of attractive quality and direct method. 

Signed at the left. Dated, Naples, 1880. Height, 13 inches; width, 20 inches, 


. o 4 Ahh 
F. VENIA Florence 
The New Vintage 


An extremely high finish has been put upon this picture, for the artist 
has painted it with affection and enjoyment. The ripening wine that 
gleams in the trooper’s glass has been served to him from the wicker- 
covered bottle. The girl who holds this bottle, and who leans against 
the huge barrel, looks up at him piquantly, laughing at his critical air, 
for your soldier is usually glad enough to get his wine anyhow, and is 
not scrupulous as to the quality if the quantity suffice. The figures are 
wrought against a background of shadow that fills a dark and cavernous 
cellar. The representation of substance and texture is remarkable in 
its finish and minuteness. 

Signed at the left. Dated, 1875. Height, 15% inches ; width, 19% inches, 


J 
03a ee 
GIUSEPPE CASTIGLIONE Italy 


Expectancy 


Arrested action is excellently given in this pose of the young girl 
who on her way in descending the stairs stops on the landing to look 
out of the window in the thick castle wall. The view ¢o her may not 
be assuring, for the rain-sodden landscape and muddy road may not 
hasten the coming of the expected one. Zo ws, however, that glimpse 
in the mountain valley is most delicious, for there is the moist atmos- 
phere, the breadth of rolling hillside, waving pines, all contained in 


44 


that framework of battered plaster and shrunken wood jambs. We 
must not neglect, however, to turn again to the figure to admire the 
daring combination of red bodice and light-green skirt ; the scheme is 
most successfully carried out, without obtrusion to the eye, and is, on the 
whole, very pleasing. The artist is always happy in the presentation 
of youth and beauty. 


Signed at the right. Height, 18%4 inches; width, 12 inches, 
YHidhccle 4 
ORESTE CORTAZZO Paris 


Taking Leave 


The scene is from Napoleon’s time. The red hussar uniform of Mu- 
rat’s cavalry fits picturesquely on the well-built young lieutenant ; the 
lady in the case, estranged or only piqued for the present, is attired in 
the long-trained silken gown of the period. We need not search further 
into the merits of the story—a romance after all depends on the point 
of view. The excellencies of execution here are, however, more to 
our favor ; and the ready brush and steady hand are easily recognized 
in the assurance wherewith the various textures are given; the carpet, 
the Persian rug, the brass stand for the palm—they all vie with each 
other to show the skill of this Italian artist who has made his home in 
Paris now for a number of years, meeting with great success in his 
artistic productions. 


Signed at the left. Height, 17% inches; width, 12% inches, 
DVORAK France 
Portrait 
(Pastel) 


' A most charming, refined head, with blonde hair; a large bunch of 
violets resting against the white dress. 
Signed at the left. Dated, 1888. Height, 27 inches; width, 1714 inches, 


45 


Pn 4 ¥ y 5 


t a 


f MARTIN RICO * Spain 
i On the Cornice Road 


A child of nature, with no other studio but creation’s temple until 
he had won recognition, Rico reproduces on his canvas the tenderest 
and most delicate moods of brilliant skies, and houses and trees quiver- 
ing in the sunlight. Born in Madrid, he had some instruction from the 
elder Madrazo, but winning the Prix-de-Rome he went to Paris, where 
he was greatly aided by Zamacois, Meissonier, and Daubigny. When 
looking at his pictures do we’ not find there some of the best peculiarities 
of each one of these men? There is a gray tone running through the 
picture before us, which is full of radiance, widely differing from some 
of his intenser color schemes. It is the slumberous quiver of warm, 
sweet air, slightly veiling the houses and trees in the middle distance, 
and throwing a delicious atmospheric haze over the mountains far away. 
The water in the foreground, placid as a mirror, reflects its borders in 
a cooling manner ; while the shade of the little grove invites the group 
under one of the trees to the dolce far niente of the Italian noontime. 


Signed at the right, Height, 15 inches; width, 2734 inches, 
a 
f 97 JIA LU 
WILLIAM H. LIPPINCOTT United States 


Picking Flowers 
(Water Color) 


This New York artist, born in Philadelphia, “has steadily advanced 
in his art, and has become a favorite contributor to various exhibitions. 
The summery landscape before us is a pleasing and natural composition, 
showing the enjoyment of city folks when ‘‘the town, made by man,” 
is left with all its oppressive house fronts, and ‘‘ the country, made by 
God,” opens its welcome. The terrier enjoys the pleasant surround- 
ings. 


Signed at the right. Height, 16 inches; width, 13 inches. 
46 


? 


| [hater & 


PAUL VIRY France 
The Engagement Ring 


The daintiest conceit—one thinks of the little spyglass of a kodak, 
where nature is put in miniature, with exactness of line. The utmost 
refinement and grace mark this charming panel picture. There is 
nothing lacking to augur the utmost happiness for the pair that in this 
trysting-place now pledge their troth. The picture is painted with 
great delicacy, in a key of light and silvery color. 

Signed at the left. Dated, 1874, Height, 114% inches; width, 13% inches. 


Sf 99 


EDUARDO ZAMACOIS Spain 
The Old Gardener 


The short life of this gifted Spaniard was the romance of the 
Quartier Latin. We combined the satire of Goya with the wit ofa 
Frenchman, and preached his pictorial homilies with the precision of 
his master, Meissonier. He was a master of the grotesque at will, but 
appreciating more fully the picturesque, he was a mocker without a 
grimace. He was brilliant without false glitter ; audacious in his inven- 
tion, yet disarming, because the point of his arrow was not poisoned. 
‘* The Education of a Prince,” of the Salon of 1870, a satire keen and 
scathing, was his masterpiece—and his swan song. This little easel 
picture gives splendid proof of the fine technique of our artist. It is 
a thorough character study. 


Signed at the centre. Height, 11 inches; width, 8 inches. — , 4 


f* 

rh 

Lt aaa see > by 
THEODORE ROUSSEAU France 
Landscape ve pas, a 


No artist ever delved deeper in the profoumd mysteries of “eee than 
Rousseau. The grand aspect of the landscape and its tenderness were 
equally familiar to him. He rendered with the same mastery the smile 
of creation and its terrors. In the great forest of er with 


Peres 
47 ¥y 


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its mossy trees, that have outlived the eagle, he drew his inspiration 
from the eternal source of beauty. Ofttimes we 


‘** See the fading many colour’d woods, 

Shade deep’ning over shade, the country round 
In brown ; crowded umbrage, dusk and dun 
Of every hue, from wan declining green 

To sooty dark.” 


In this charming landscape we see the rocky hillside and clump of 


trees submerged with superb light, while the peasant, resting by the 
wayside, adds a delicate touch of poetry. 


Signed at the left. Height, 8% inches; width, 10% inches, 
Fibs kf 
IOI Ate Lom | 3 
ALBERT LAMBRON France 


Seeking Knowledge 


Albert Lambron des Piltiéres, which is his full name, was born at 
Saint Calais. Asa pupil of Flandrin, he selected historical and genre 
subjects sometimes verging on the bizarre, but always showing great 
talent and humor combined with technical skill. This little cabinet 
shows us an /ucroyadle of the First Empire, enjoying a shady nook and 
a few pages of his scientific treatise, in preference to a practical pursuit 
after botanical and entomological treasures, A few flowers at his side 
on the bench are ready for the herbarium at his feet, while the net is 
ready to hand to capture the butterflies which soon will be found among 
the shrubs and flowers. A most charming composition, executed in a 
thoroughly satisfactory manner. 


Signed at the left, Dated, 1873. Height, 5% inches; width, 4 inches. 


9 = ES hake 


W. S. COLEMAN England 
Joyous, Days 


Coleman’s work is much sought after for reproduction, as it combines 
grace and beauty. This. child driving a shuttlecock, with tiger skin 
around the waist, is like the dainty setting of Tadema’s Roman Atrium. 
It is a fine bit of painting in a very attractive style. 

Signed at the left. Height, 19 inches ; width, 14 inches. 


48 


(7 rg 
ees ee ae 

toqmre Att? 

V. DUVAL Paris 


Gallery of the Louvre 


Any one who has visited the ‘‘ Treasure House of France” will be 
astounded at the photographic exactness of this picture. Yet not pho- 
tographic, as the perspective is drawn according to the visual, not the 
lens, focus. The fresco decorations of the ceiling, the elaborate finish 
of the walls, the wonderful exactitude of the cabinets in the centre with 
their wealth of jewels and orfévreriec—all make this a most valuable 
_ reminiscence of European travel. 

Signed at the right. Height, 16% inches; width, 24 inches. 


‘eau: Slagle Ares 
AUGUST LEU Germany 
Scene in Northern Italy 


This landscape painter, who was born in Miinster, and received his 
education there, was one of the few artists who have been able to give 
mountain scenery with breadth and vigor, yet with simplicity. His 
travels in Norway and Switzerland instilled in him this love for moun- 
tain vastnesses. In this picture he presents one of the sapphire sheets 
that nestle in the Southern Alps. The picturesque crags and wooded 
borders around the placid water, the peasants in their rural pursuits, 
the clear atmosphere, with lazy clouds sailing along, are all suffused 
with fine mellow color. 

Signed at the left. Dated, 1872. Height, 31 inches ; width, 43 inches. 


E. M. A. ANDREy | France 
The Duel 


A typical French subject. The peculiar poplars, the high, shorn 
hedge, the peaked roof of the house hidden beyond, the last century 


49 


gO 


garments of the principals and their friends, all bespeak the usual sur- 
roundings of wne affaire d'honneur. ‘The grouping is skilful and 
illustrates well the story ; the early morning air is well shown in the 
beautiful sky and atmospheric impression. It is one of those decorative 
pictures which is pleasing in spite of its gruesome subject—but then, it 
is a French duel, and, perhaps, not so gruesome after all. 


< 


Signed at the left, Height, 23 inches; width, 19 inches. 


mo (fy 


HENRY FARRER United States 
Fisherman’s Home 
(Water Color) 


Henry Farrer is, perhaps, best known by his etchings, but his pictures 
are equally good. This fisherman’s cottage on the coast stands in high 
relief against the cloudy sky. Rocks and trees protect it from the * 
stormy blast. The clear air, coming night, and vast stretch of ocean, 
are well expressed. 

Signed at the left. Dated, 1880, Height, 16% inches; width, 2714 inches. 


07 ff 


KRUSEMAN VAN ELTEN United States 


Landscape 
(Water Color) 


This artist, at present residing in Paris, isa constant and valued con- 
tributor to the various exhibitions held in New York and Philadelphia. 
As a native of Holland he has inherited the intuitive and sympathetic 
feeling for the charming moods of nature which he produces with 
great success in all his works. 


Signed at the left. Height, 2334 inches; width, 17% inches. 
50 . 


Se ee a 


fie obit tole ROBIE Belgium 


Flowers 


This is a capital example of rare quality of this modern master in 
the field of still life. The exquisite delicacy and fulness of this paint- 
ing breathes, as it were, the perfume of ‘‘the children of summer.” 
The silver tankard is rendered in masterly fashion. Robie has received 
many medals and decorations in recognition of his superior talent. His 
works are found in many private collections. This example was pur- 
chased from the Belgian Exposition, held at the Pennsylvania Academy 
of the Fine Arts, Philadelphia, 1882. 


Signed at the left. ; Height, 24 inches ; width, 18 inches. 
- SS ty ° 
poli fF bb 
t * e " } 
ALBE "i wh & x Ov 


oA cene in Asia Minor y a 
Born near Parma, Pasini has that eye for onl 4 his 


countrymen. In his study years in Paris he had several masters, 
taking from each that which he was best qualified to receive—from 
Ciceri his drawing, from Isabey color, and from Rousseau that senti- 
ment which oftentimes spiritualizes the whole. No man succeeds better 
in realizing upon canvas the splendor, color, and brilliancy of burning 
light, or the barbaric sumptuousness of gorgeous pageantry. His well- 
schooled hand has a broad touch, yet is not negligent of detail. His light 
effects are often peculiar and always striking. The color of this market 
scene is rich, not glaring—rather subdued, a skilful symphony of the 

chromatic scale. The animated groups of mingling Cossacks and 
Turks are naturally disposed. The picture is one of the best examples 
that ever left Pasini’s easel, 


Signed attheright. Dated, 1881. —-_Height, 21 inches; width, 25% inches, 
mal 51 


A 
f) 110 (5 te , ; 
i EDWARD MORAN United Statés 


, 


Homeward Bound 


Edward is one of the prominent members of a numerous artist- 
family. He unites here his specialties of marine and figure painting. 
His figures remind us of those of Perrault and Jules Breton, and com- 
monly illustrate the life of fisher-families on the French coast. The 
figures in the distance are well painted; those in the foreground full 
of movement. The color scheme is good, with a fine sky. 

Signed at the left, Height, 2534 inches ; width, 1734 inches. 


ave | 


CHAS. LINFORD 4 United States 


Landscape 


A fine sky overarches this charming landscape, with clumps of trees in 
the middle distance, and cattle standing in the shade. Beyond, is a line 
of trees with cottages. ) ees 

Signed at the left. Dated, 1888. Height, 18 inches; length, 26 inches. 


II2 fee 


H. HAGER United States 
The Baronial Hall 


This is a remarkably fine piece of relief painting, showing the ex- 
quisite carving of the solid oak wall panels. The light through the 
window, which creeps along the polished floor, is cleverly handled and 
distributed. The chandelier is exquisitely finished. This picture shows 
a fine brush handled with skill and discrimination. 

Signed at the right. Height, 224% inches ; width, 28% inches. 


52 


/ fo - 
47 


113 
MILNE RAMSAY United States 
Still Life 


This Philadelphia artist had great success at the Paris exhibitions 
after his studies with Bonnat were completed. This picture is a bright, 
bold, manly piece of work, painted with little artifice, but with much 
genuine knowledge. The arrangement is simple and unconventional, 
and there is an admirable rendering of textures. The smooth glass and 
china, the nuts and fruits, the plush cloth—each seem to be painted 
with a different touch and to exhibit a different phase of the artist’s tech- 
nical versatility. 

Signed at the right. Dated, 1872. Height, 2814 inches ; width, 23 inches, 


a * A ia 114 


P. VIGNERON Paris 
Watering the Wine 


One of the tricks of the trade is here exposed, the artist having 
caught the portly wine merchant in the act of increasing his stock with- 
out the trouble of buying it. ‘‘ Remember, my boy,” said the dying 
wine merchant to his son, ‘‘that wine may be made from anything, 
even grapes.” This gentleman is apparently one who indorses this 
statement, for he believes that it can be made from water. He is 
sampling the mixture in a businesslike way, and the assistant, who 
holds the bucket, casts a sly glance at him, as he pauses in the execution 
of this miracle of turning water into wine. 

Signed at the left. Height, 23% inches ; width, 28% inches. 


II5 
WILHELM KOLLER Germany 
The Parting 


Born in Vienna, Koller became a pupil at the Academy of the Aus- 
trian capital, afterwards continuing his studies at Dusseldorf and Ant- 
werp. After a brief sojourn in Brussels he returned to Germany. He 


oe) 


painted principally historical genre, of which the present work is 
an excellent example. The care which Koller always uses in finishing 
his work, without vexatious minuteness of detail, is well shown. The 
play of sunlight outside the door where the soldier’s farewell takes place, 
is technically a fine bit of painting, the whites and yellows being 
exquisitely modulated. The perspective through the door-arch is cor- 
rect. The figures themselves are faultless, the bit of by-play of the 
passing comrade, looking back, right in place. The principals express 
in pose and action the shadow of the parting sorrow. 
** And to his eye 
There was but one beloved face on earth, 
And that was shining on him.” 
Yet they are sustained by the thought that welcome will smile again, 
“And farewell goes out sighing.”’ 
Signed at the left, Height, 2634 inches; width, 23% inches. 


116 7 
G. BAUGNIET OD Prauckabeis 


Interesting the Convalescent 


The sick woman in this picture has been propped up on pillows in an 
easy-chair, and a young friend or relative is posing before her in ‘a new 
dress, which a maid is adjusting. The faces are pretty and animated, 
and the nun who attends the convalescent betrays by her sidelong 
glance at the new dress, the fact that she is not wholly unconscious of 
the vanities of the world she has forsworn. The group is clever in 
arrangement and the picture pleasant in color. 


Signed at the right. Dated, 1874. Height, 24 inches ; width, 27% inches. 
117 DP Bee sa. 
R. S. DUNNING _ United States 
Fruit-Piece 


This Fall River artist has presented a rich and decorative canvas of 
fruit admirably arranged in luscious profusion, and painted with sin- 
cere regard for form and color. The various fruits retain their own 
softness or solidity, the accessories are faultlessly rendered. 

Signed at the right. Dated, 1873. Height, 29 inches ; width, 24 inches, 


24 


/ ‘f ain 118 


J. G. BROWN United States 


. “ John Anderson My Jo” 


The President of the Water Color Society is a stranger to no one 
who has but the slightest interest in art. Yet here we find him back to 
his earlier work, like his ‘‘’Longshore Men at the Noon Hour,” which 
was recently shown at a Lotos Club exhibition, This picture is painted 
in a broader and more vigorous manner than we now expect from his 
hand ; and owing to the subject the picture is the better for ity. Leis 
a most characteristic old couple, breathing the sentiment of the famous 
poem. The subject of this picture will never be copied by the artist, as 
attested by a letter from his own hand. 


Signed at the left. Height, 231% inches; width, 29% inches. 


¥ 


l bute n9 g,'7 


B. VAN MOER 


7 Venice 


Venice, ‘‘the Bride of the Adriatic,” nowhere looks more entrancing 
than at this spot, the entrance to the Grand Canal; nor does she ever 
look more serenely brilliant than in the late afternoon when the sun has 
passed the meridian and is fast disappearing. Then the deep blue of the 
sky-reflected in the quiet waters suffuses the whole with that luminosity 
which only the Italian sky possesses. The scene is animated by pass- 
ing gondolas and sailboats, The linear perspective is carried out with 
consummate skill from the Custom House at the point to the stately 
domes of the Santa Maria della Salute farther on, and so beyond to 
the houses and palaces that line this main artery of the city of a hun- 
dred isles. The artist has given a remarkably inviting presentment of 
this picturesque point of view. 


Signed at the left. Height, 17 inches ; width, 304 inches. 
55 


ARLES JACQUE France 


/ ee Landscape with Sheep 
Charles Emile Jacque was the last survivor of that era of artistic 


revolution in France which has influenced the art of the world. Early 
in life he was a map engraver and a soldier, and commenced drawing on 
wood and etching. By choice he became a painter of rustic life, with 
a predisposition to the humble animal side of it. His early ex- 
perience as an engraver gave a firm and precise hand, whereby his 
drawing is absolutely faultless, while his vigorous strokes make his 
composition bold and decisive. 

The sheep here shown, drinking at the pool, may be called one of 
the best painted flocks of the artist’s favorite subject. The fine green 
of the grass and the rugged trees are to be noted. 

Signed at the left, Height, 31 inches; width, 25 inches. 


M. KING Unitéd States 


Assets of a Poor Artist 


A suggestive piece of still life with its dog-eared book, lump of bread, 
various other books, and seashell, well painted. The artist hails from 
Philadelphia. 


Signed. Height, 29 inches ; width, 27 inches. 


o 122 Pedess ; 
V7 F. P, MICHETTI GH, Lavoted 


Gathering the Flock 


Francesco Paolo Michetti is one of the rising Italians, whose French 
training has toned down his national tendency to high colors. The 
silhouette-like figure of the picturesque girl, standing out clear against 
the evening sky, is most attractive; the landscape, the turkey flock, the 
river beyond, with the reflected sky, are all painted in a broad and free 
manner. 

Signed at the right. Dated, 1871. Height, 20 inches ; width, 3114 inches, 

56 


\ a 
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TS a a iid ia 
EMILE N RCKE 7 sf France 
EE ee | ran 


Cattle 


Van Marcke was born in Sévres, and early made his living as a por- 
celain painter and decorator in the National Pottery. There he attracted 
the attention of Troyon, at whose advice he studied from nature. At 
first his diffident steps did not progress, but by dint of perseverance he 

left his imitation of his friend and teacher and became the individual 
master, who only can be compared as a cattle painter with Troyon, 
Cuyp and Potter. His color is fresh, lively, more brilliant and spark- 
ling than shown by his teacher. He was a master draughtsman, his 
grouping is always pictorial, yet true. His landscapes possess an equal 
_ degree of excellence and are replete with the charms of joyous nature. 

In this remarkably beautiful picture one of the choicest examples of 
this painter’s art is shown. The very nature of the bovine race is por- 
trayed in the vague look, the philosophic indolence of these shaggy 
beauties. The fields have just been refreshed by a heavy shower, and 
the cattle seem to enjoy the return of sunlight as it falls through the 
breaking clouds. Yet the atmosphere is wet, and the dampness which 
mingles with the sun’s rays makes the air more luminous. 


Signed at the left. Height, 2644 inches; width, 32% inches. 


Tes af Pwr fan th aed Dantes te 


4 kh a, Me 124 ye 


CONSTANT TROYON France 


On a Branch of the Moselle 
(Pastel) 


Something in the very name of Troyon suggests gentleness and re- 
finement. He was a poet,and gave a poetical interpretation of nature. Fis 
was a largeness of life that found the tendrils of beauty where m 
pass by its outward form unrecognized. With discrimir@tin 
portray in deep, pure colors what his soul f 


57 


trembling on the canvas which he has touched. Of his landscapes it 
may be said : 

‘“* Here are cool mosses deep, 

And thro’ the moss the ivies creep, ‘ “iy, 

And in the stream the long-leaved flowers weep, 

And from the craggy ledge the poppy hangs in sleep.’’ 


i 

In this beautiful pastel we find the sky calm and serene, of ethereal 
blue ; the tender atmosphere, the glow of summer sunlight, the body of 
water still and unbroken, the peasants in commonplace pursuit—the 
whole a sublime landscape. 

It might be in place to point out the absolute perfection of this pic- 
ture, which for over twenty years was in Mr. Bement’s possession. 
And yet there are those who think a pastel is too easily damaged ; 
while on the contrary in this point it stands on the same line with the 
other mediums. It is, however, softer, and may, perhaps, be handled 
with more poetic feeling than the water color. 


Signed at the left. Height, 25 inches ; width, 20 inches. 
23 G 
AUR Di CROCHEPIEER ERE Paris 
Satisfaction 


This picture was bought from the Paris Salon of 1888, and shows 
f @excellent handling of a sympathetic subject. The old woman holding 
} the distaff is well painted, especially the face and hands, showing supe- 
%. ©) rior ability in the artist. The quaint French kerchief over the head and 


the woollen cloth have fine qualities of texture. ; 
Signed at the right, Dated, 1887, Height, 16 inches; width, 12 inches. 


126 Stoke " Lae 


A. “EGUSOUIZA | Spain 


She Laughs at His Folly 


This light-minded pair, an idle dame of fashion and her foppish 
caller, illustrate a phase of life which is curious to us, without arousing 
our sympathy? Still there are interesting points about this sparkling 
bit of color, The grace and luxury of it all is apparent, the dexterous 


58 


s 
“*, ., r " 
al 


A 


# 


: 


if perhaps daring use of certain colors in complement is highly suc- 
cessful, the Japanese decorated screen in the background adds the tone 
of solidity, and restores the balance of what otherwise might have 
been unduly gaudy. 

Alberto Rogelio de Egusquiza, which is the artist’s baptismal name, 
has achieved a deserved reputation in Madrid with like compositions, 
He is the painter of high social life par excellence. 

Signed at the right. Dated, 1873. Height, 18 inches ; width, 134 inches, 


Shen 127 


PHILIPPE BENOIST Paris a 


Napoleon’s Tomb 


This picture of a magnificent shrine (for such it now is), the Rotunda 
of the Invalides at Paris, is of historic and architectural interest. The 
people who have gathered here have uncovered their heads, for in the 
sarcophagus, guarded by sculptured angels and surrounded by the battle 
flags of France, sleeps—if that active and ambitious spirit can sleep— 
Napoleon Bonaparte, the man of destiny; the soldier who wielded a 
power unknown since the days of Alexander and Cesar; the general 
whose armies’ tread shook all Europe; the wondrous founder of an 
ignominious dynasty. The fine architecture of the building, the 
marbles, the tessellated floor, the fine light effect in one of the mortuary 
chambers are given coz amore, It was a task which this well-known 
French artist approached with reverence and devotion. 

Signed at the right. Dated, 1863. Height, 15% inches; width, 12 inches. 


LY F)- Rage lla 128 


ODORE CERIEZ Belgium 
Talking Politics 


This is a French inn with figures full of animation. The animated 
argument of the trio in the foreground will not disturb the good cheer 
of the worthies at their luncheon. The groups outdoors are occupied 
in the everyday manner of village life. The execution shows a follow- 
ing of careful, academic lines. 

Signed at the right. Height, 15 inches; width, rz inches, 


59 


+e Cis 


EDWARD NAVONNE Paris 


Approaching a Climax 


An exquisitely composed panel, with a well-executed decorative 
color scheme. The blue of the lady’s robe is gracefully draped and 
finely painted. The cavalier’ s costume is rich and picturesque, the 
furnishing of the chamber is in excellent keeping. Of course a ques- 
tion is being asked. 

*“ When love once pleads admission to our hearts 


Cin spite of all the virtue we can boast), 
The woman that deliberates is lost.” 


It is not likely that either will be disappointed, for where there is a 
willing ear, as here seems to be the case—the answer may be guessed. ~ 


Signed at the left. Dated, Roma,1872, Height, 1314 inches; width, 10 inches. 


a ) p 130.) oe ae 
[| & : J Te ai ( 


) JOSE VILLEGAS oe Spain 
q The Guard and His Dog 


This pupil of Fortuny, whose manner he followed to a certain extent, 

had for a time a studio in Rome, and is now settled in Paris. He has 

a thorough knowledge of the human figure, and a fine talent for com- 

position. In execution he combines breadth of treatment with a close 

. attention to detail, always appreciating what is essential and what ~~. 

should be passed lightly, so as not to detract from the main features. a 
He possesses great skill as a colorist, sometimes being even more gor- 
geous than Fortuny ; his intense realism saving him from extravagance 

in this dangerous facility. 
The guardsman with his pike-staff, in buff leather dress, with the 
magnificent deer-hound at his side, is a piece of solid and serious 
painting, full of character ; the curtain, splendidly executed, forms a 

fine background. : 


Pan, 


) 


Signed at the right. Dated, 1875. Height, 35 inches; width, 23 inches, 
OO 


oe y 


WILLIAM T. RICHARDS United States 


View in the Adirondacks—Autumn 


Indian Summer, the most glorious and gorgeous time of all the year. 
A smart painter pictures then what he sees, a good painter subdues the 
loud and glaring colors, which on canvas would look garish. The 
long, slow ascent of forest-covered slopes is aglow, yet tempered with 
subtle atmosphere. The view is happily chosen, and the still lake 
adds beauty to wood and mountain. 

Signed at the right. Height, 24% inches; width, 394 inches. 


132 
A. BONIFAZI Italian 


Carnival in Rome 


With all the good natured hilarity of a Latin crowd, these peasants 
and city folks, mingle rus in wurde, in the carnival festivities under the 
shadow of the Colosseum and the Arch of Titus. There is no confusion 
in the clever grouping but a dexterous variety of occupations and move- 
ment. The whole is suffused with a rich twilight, fast passing into 
dusk while the moon is wheeling into the heavens. 

Signed at the left. Dated, Rome, 1872. Height, 1934 inches ; width, 42 inches. 


F | 
(7 Cates — x 


4 


JAMES HAMILTON United States 


Marine—Sunrise 


Hamilton was born in Ireland but early brought to this country. He 
studied, and after travelling settled in Philadelphia, where he became 
best known by his illustration of ‘‘ Dr. Kane’s Arctic Explorations” and 
other works, In his easel pictures he gave himself mostly to marine 


61 


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views and he delighted to depict the grand, often gloomy aspect of the 
ocean. 

A bold headland is shown in this picture upon which a wreck is 
grounded. Behind it rises a mountain of sublime height and awful 
form, The sea is breaking in heavy surf upon the beach, while the 
gulls sailing over the waters announce the new storm coming. It is an 
impressive painting of the ocean in one of its wild and dangerous moods. 


Signed at the left. Height, 29% inches; width, 49 inches. 


| . De 134 a MA Ln 


<LOMBECK AND WILLEMS Belgium 


Winter Scene 


Another painting of dual production, of which Klombeck has strongly 
furnished the landscape, in which Willems has introduced the figures. 
Each has contributed such excellent parts thatthe whole: makes a 
superior painting. There is a chilly atmosphere, with the leaden sky 
overarching the skeleton arms of the denuded trees. 


Signed at the left. Dated, 1866, Height, 36 inches; width, 48% inches. 


obd~ A 


Picking Cherries 
W. BOUGUEREAU France 


Bouguereau has latterly become identified with bisque-looking bathers 
and other model copies, with a classical execution of well-defined line, 
where all the world seems to have rushed into the naturalistic move- 
ment. 


The Bouguereau of.a score of years ago was more serious. He had 
then arrived at that perfect technical knowledge and masterly skill in 
handling his implements which puts him in the very front rank of the 
masters of his art. An exquisite example of this we find in this canvas, 


62 


which is one of the truly artistic gems of the Bement Collection. The 
whole is conceived ina refined style, with that inimitable grace which 
makes even the peasant child an idyl. The delicate seriousness of the 
face, lit up by those wonderful blue eyes, with the flaxen hair asa halo, 
is perfectly captivating. There is no pose, no weariness of arrested 
action, but a natural movement in the uplifted arms, with the cherry 
just plucked. The summer air, the rich dark foliage, give an envelope 
to this picture which make it idealistic. 

The romantic life of Bouguereau, his capturing a prize from the com- 
peting art students, while he himself was but a clerk ; his continuing 
triumphs ; his celibacy, because of his mother’s objection to the woman 
of his choice ; his final marriage to her after twenty-five years’ waiting 
—all this is well known. His artistic eminence in the school of his 
choice, and in the conception of art which he follows, is beyond cavil. 


Signed at the left. Dated, 1871. Height, 51 inches ; width, 34 inches, 
Le. 136 Zz 
CARL KUWASSEY, PERE Austria 
The Tyrol 


Mountain scenery—the towering cliffs, the enveloping clouds, the 
dark mysteries of recessed cafions—how suggestive it is of the gran- 
deur of creation. There is a theory that mountain scenery is of too vast 

“extent; that there is too much perspective in it; that it becomes 
*“ panoramic, and, therefore, does not answer to the simplicity of true 
landscape painting. In refutation of this we may point to the moun- 
tain scenery of Jacob Ruysdael among the Old Masters, or to the grand 
canvases, with swishing clouds, and breadth and immensity, which 
Courbet painted when in exile in Switzerland. Or, to come nearer 
home, who does not admire the mountain views which La Farge gives 
us? Mountains are not beyond the artistic grasp. The canvas before 
us proves this contention. The artist, an Austrian by birth, although 
living mostly in Paris, began life, as did Munkacsy, asa carpenter, and 
always adhered, after his professional life had commenced, to the love 
for his beautiful Tyrol, as shown in his bold, strong, and airy canvases. 


Signed at the left, Dated, 1872. Height, 50% inches; width, 37% inches, 
63 


a a 2 had Se 
137 ae Pia. 
ALEXANDER A. LESREL Poland 


Meditation 


. Lesrel was born in Warsaw, where he received his first instructions, 
afterwards studying in Dresden and Munich. He settled in his native 
place, where he attained great popularity by painting scenes from Polish 
history. The genre before us indicates the versatility of this artist, as 
well as the careful presentation of his subject. Noticeable is the ex- 


quisite manner of painting the heavy embroidery on the dress, and the 
strings of pearls adorning this Polish beauty. The jewel casket on the 
table and the roses in her lap, divergent in texture, are given with 
equal facility. The light through the window, affording a good city 
| perspective, fills the room, One can walk around the chair, which stands 

out clearly from the wall. : 


\ Signed at the right. Dated, 1882, Height, 35 inches ; width, 27% inches, 


a 138 


2 HERMANN HERZOG ed States 


Bab 
Lake Bo e 


p 
The wild woods, rocky heights, and unkempt fields are shadowing in 
the gloom of an impending storm. The heavens are darkening, but a 
* gleam of light pierces the clouds and falls across the foreground, where 
' a pleasure party is speeding up the road in a carriage. The view is 
from near Caldwell, at the head of the lake, or southern end, the point 
whence the traveller first sees this exquisite sheet of water. The moun- 
tain landscape from this point is superb. The Fort William Henry 
Hotel is seen on the left, and one of the little steamers that ply on the 
lake is seen beyond it. 


Signed at the right. Dated, 1872. Height, 4034 inches ; width, 59 inches. 
64 


Lea ae 139 
WILLIAM M, HARNETT United States 


On the Window Shutter 


‘¢ The Old Barndoor” is a well-known picture which has been repro- 
duced ad nauseam. The picture before us presents, with the same idea, 
a more artistic ensemble. The musical instruments, hung up against ht) :: 
the old board window shutter, hang loose from the background, and are a 
remarkably vivid with all the vraisemélance of nature. The beautifully 
carved frame adds to the setting of the picture. 

Harnett was born in Philadelphia; was a pupil of the National 
Academy, and studied also from 1880-1884 in Frankfort and Munich. 

His work is well liked and readily purchased. 


Signed at the left. Dated, 1889. Height, 61 inches ; width, 4114 inches. 


Amer 140 


EDOUARD RICHTER France 


In the Cathedral 


Richter, of German descent, but born in Paris, has all the instinct of 
the French School, showing his tutelage under Hébert and Bonnat in 
his careful work. This is a picture, with huge, dim spaces, of the 2 
famous Cathedral St. Gudulle at Brussels, lit by the prismatic brilliancy /f~e 
of stained-glass windows, and relieved from heaviness by ornate Gothic ; 
architecture and Renaissance ironwork. An air of religious quiet per- 
vades the sanctuary. The woman who is leaving the church shows her 
faith by her works in handing her alms to the needy. 


Signedattheright. Dated, Bruxelles, 1871. 
Height, 57 inches ; width, 39 inches. 


65 


JLLOD.2? IAI LGAE. 
ORESTE CORTAZZO Ataly 


Crowning the Bride 


But few artists can compose a picture so well sustained in all its 
various parts as this one. With its many groups it is splendidly bal- 
anced, and the interest and animation of every figure perfectly sustained. 

The picture presents a custom in France during the reign of ‘‘ Le 
Grand Monarque.” The royal standard waves in the presence of the 
king. <A bridal pair will be honored because royalty happens to visit 
one of its many summer palaces, just when the wedding is to be cele- 
brated, and the king will crown the bride of the day. The Dauphin sits 
on a rug on the balustrade at the right, an interested spectator, soon to 
look down, however, when the mortars go off, which the royal hunts- 
men are preparing. The opulence of color is subdued with rare judg- 
ment ; yet showing the richness and brilliancy of the costumes of the 
times. 

Signed at the left, Height, 34 inches ; width, 57 inches, 


LKON OLIVIE France 
Falstaff and Doll Tear-Sheet 


It certainly is to the credit of a Frenchman to catch so completely the 
spirit of a thoroughly English scene like this one from ‘* King Henry 
IV.” The salacious and liquor-loving old knight is entertaining Doll 
Tear-Sheet, a lady of light character, and Dame Quickly, with an ac- 
count of the misdoings and shortcomings of Prince Hal and his friend 
Poins, who, disguised as serving-men, glower at him from the doorway 
on the left. Pipers and fiddlers have been summoned for the old fel- 
low’s amusement, and sack is plentiful. Falstaff wears his buckram 
jerkin and his belt and spurs won by word valor. His jolly, rubicund 
face is in marked contrast to the white skin of the wheedling woman 
beside him, The arrangement of light, although slightly divided, is 
still consistent. 


ano * 142-4 @ in 


signed at the right. Height, 39 inches; width, 61 inches, — 


60 
Be en 


} 


Gives 


VASES AND STATUARY. 


143—ONE JAPANESE BRONZE VASE. 


With clear-cut relief ornamentation. 
Height, 31 inches. 


144—ONE PEDESTAL. 


Walnut, handsomely carved. 
Height, 42 inches; top, 15 by 11 inches. 


145—Two VASES, 


Old Japanese, lacquer and gold ornamentation. 
Height, 48 inches; diameter, 16 inches. 


146—BRONZE VASE, 
Unique design, richly ornamented, with ring 
handles and removable base. 
Height, 31 inches ; width, 15 inches, 
147—BRONZE FIGURE, 


Sesostris, one of the Pharaohs, by E. Picault. 
A stately figure of classic lines. 
Height, 28 inches. 


148—BRONZE GrouP: “ KaBYLE SHEPHERD.” 

By Waegen. A magnificent and spirited piece, 
showing the Algerian holding up in triumph the 
head and skin of a lioness just slain in the rescue 
of one of the flock. The dogs lie on the carcass, 
The horse shows strength, spirit, and pride. The 
easy poise, the loose robe, and the ready grouping 
account for the great interest this group aroused 
at the Beaux Arts in 1870. 

Height, 48 inches. 

Carved walnut base. 

Height, 36 inches ; width, 18 inches. 
67 


149—MAssivE BRONZE GROUP. 

By L. Grégoire. Representing Orestes and 
his sister Electra. ‘Taken from the story told by 
fEschylus in “The Furies,” where Orestes is 
swearing to avenge the death of his father, Aga- 
memnon, by taking the life of his mother Clytem- 
nestra, who had murdered him. A magnificent 
bronze, full of force and character. 

Height, 42 inches ; width, 22 inches, 


Red porphyry pedestal ; highly polished. 
Height, 30 inches. 


FINE ART BOOKS. 


I50—AUDSLEY AND BowLes. “ KERAMIC ART OF JAPAN.” 

With a large number of full-page illustrations. 

Two volumes, folio, bound in half red morocco. 
‘Liverpool, 1865. 


151—AuDsLeEy (George A.), “THE ORNAMENTAL ARTS 
OF JAPAN.” 

In four parts, in five portfolios. Plates in 
chromolithography and monochrome, with de- 
scription, in the following divisions : Embroidery, 
Textile Fabrics, Lacquer, Incrusted Work, Metal 
Work, Cloisonné. 


152—GORRINGE (Henry H., Lieut.- Commander U. S. 
Navy). “ EGYPTIAN OBELISKS.” 

With 51 full-page illustrations, 32 artotypes, 18 
engravings, and 1 chromolithograph; folio in blue 
cloth binding. Published for the author in New 
York. 

68 


153—DIcKINSON’S “COMPREHENSIVE PICTURES OF THE 
GREAT EXHIBITION OF 1851.” 


From the originals painted for H. R. H. Prince 
Albert, by Messrs. Nash, Hughe, and Roberts, 
R.A. Royal folio, leather binding. 


154—WARING (J. B.) ‘‘ MASTERPIECES OF INDUSTRIAL ART 
AND SCULPTURE AT THE INTERNATIONAL EXHI- 
BITION OF 1862.” 
With a large number of plates, superbly finished 
in gold, silver, and colors. 3 vols. royal folio, 
red morocco extra, gilt edges. London, 1863. 


An illustrated record of famous specimens of metal work, glass paint- 
ing, etc. 


155—Dumas (F. G.). “ILLUSTRATED BIOGRAPHIES OF 
MODERN ARTISTS.”’ 
With full-page etchings, and numerous illus- 
trations in text. Folio, morocco, Paris, 1882. 


The biographies with portraits and plates of important works of 
the following artists: Leighton, Millais, Herkomer, Alma-Tadema, 
Baudry, Israels, Menzel, Von Piloty, Makart, Hook, Cabanel, and 
Meissonier. 


156—MeEntTz (Paul). “LES CHEFS-D’EUVRE DE LA 
PEINTURE ITALIENNE,” 
Folio, morocco, Paris, 1870. 


Ouvrage contenant vingt planches chromolithographique, executées 
par F, Kellerhoven, trente planches sur bois et quarante culs-de-lampe 
et lettres ornées. 


THE AMERICAN ART ASSOCIATION, 
MANAGERS, 
THOMAS E. KIRBY, 


AUCTIONEER. 
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